a guide to the intra-play of 7 plus materialities mapping quantum storytelling
TRANSCRIPT
A G U I D E T O T H E I N T R A - P L A Y O F 7 P L U S M A T E R I A L I T I E S
MAPPING QUANTUM STORYTELLING
Presented By: David M. Boje, Ph.D. 2
MAPPING THE ASSEMBLAGES OF HUMAN & NON-HUMAN
Your Clothing
Your ToolsComputers, pencil, pen…
Your FoodInside & carried along
Your cosmeticsMake up, deodorant, sprays…
Each item tells a quantum storyIs part of larger socio-economic assemblage processes
Quantum Storytelling
You
Not of same
Places, or Times, or Pressures,
or Agencies, or Optics
?
Presented By: David M. Boje, Ph.D. 3
STORYTELLING Working
Conditions
STORYTELLING Behaviors
STORYTELLING Hidden Costs
STORYTELLING Structures
Presented By: David M. Boje, Ph.D. 4
SEAM-STORYTELLING
WORKING CONDITIONS
Are assemblages of tools, material resources, changes over place, changes over time, job designs, sociotechnical assemblages, materiality in relation to social groups, processes of material production, distribution, etc.
WORK ORGANIZATION
Are material assemblages of sociomaterial networks, dialogic relations, supply chains, specialties, administrative order, etc.
Presented By: David M. Boje, Ph.D. 5
SEAM-STORYTELLING
3 C’s
Assemblages of human and digital projectors, image screens, asleep students, coordination calendars, meetings face-to-face, meeting virtually, a TAMARA-LAND of simultaneous 3 C’s.
TIME MANAGEMENT
Times different throughout the assemblage, with short, medium and long term horizons, cycles, spirals, rhizome assemblages, some linear ones, delegation, putting out fires, value-added time, value-less time
Presented By: David M. Boje, Ph.D. 6
SEAM-STORYTELLING
TRAINING
Assemblages of people getting training, doing CITI HR and safety certification, people needing trianing not getting it, apprenticeship needed, mentoring happening or not, training in habitudes, untraining ones no longer valued.
STRATEGIC IMPLEMENTATION
Transforming from one assemblage of processes to another, merging and acquiring, divesting, getting accounting assemblage inline with market and production assemblage, moving to materialize the staregy
Presented By: David M. Boje, Ph.D. 7
ANATOMY OF SEAM-STORYTELLING
STORYTELLING Working
Conditions
STORYTELLING Behaviors
STORYTELLING Hidden Costs
STORYTELLING Structures
SEAM-STORYTELLING
Quantum
Material
SEAM-STORYTELLING
Birth of new Methods
Presented By: David M. Boje, Ph.D. 8
3 times Better than 1
SEAM-STORYTELLING
Presented By: David M. Boje, Ph.D. 9
What’s In SEAM-STORYTELLING?
SociomaterialitySocioeconomic AccountingDistrust of Speculative Economics
What’s Out?Petrified NarrativeLinear NarrativeDe-material Narrative
Presented By: David M. Boje, Ph.D. 10
1ST QUANTUM STORYTELLING EXERCISE
On paper, make a list of every material thing you wear, carry, or bring into this room. Include every item of clothing, jewelry, hair brush/comb, cosmetics, glasses/contacts, perfume, food, tools, computers, chargers, cords, iPhone, ear buds, nail polish, books, papers, notebooks, post-it notes, etc.
After a complete list is written out, join with a partner and interview them about their material accompaniments.
Everyone is a quantum storytelling assemblage!
Presented By: David M. Boje, Ph.D.
STAR ACTOR-NETWORK-THEORY: BRUNO LATOUR
1. Which of your material items are not of same places?
2. Which are not of same times?
3. Which are not of same pressures?
4. Which are not of same agencies?
5. Which are not of same optics? 11
NOT SAME OPTIC
(not synoptic)
NOT SAME PRESSURE
S(not isobaric)
NOT SAME AGENCIES
(not homogeneous)
NOT SAME PLACES
(not isotopic
NOT SAME TIMES
(not synchronic)
Presented By: David M. Boje, Ph.D. 12
DEFINING VITAL MATERIALISM
“Picture an ontological field without any unequivocal demarcations between human, animal, vegetable, and mineral,” Bennett (2010: 117) writes, “all forces and flows (materialities) are or can become lively, affective, and signaling. And so an affective, speaking human body is not radically different from the affective, signaling nonhumans with which it coexists, hosts, enjoys, senses, consumes, produces, and competes”
Presented By: David M. Boje, Ph.D. 13
EXERCISE 2: TELL THE ‘ONTO-STORY’ OF YOUR ASSEMBLAGE OF MATERIAL THINGS
Jane Bennett (2010:3-4) says ‘onto-story’ is a qualitative methodology, tracing the ASSEMBLAGES of human artifacts, the human body (part of Nature), and non-human forces
Each of you assemblages are different! (Boje, 2011; 385).
Trace the onto-story of the various PLACES, TIMES, PRESSURES, AGENCIES, OPTICS of different assemblages you brought into the room.
Each assemblage is part of a larger socioeconomic process. Trace the socio-economic processes of which various artifacts are participants (in larger assemblages).
Define Vibrant Matter of your most lively thing-assemblages (aka ‘material vitalism).
Presented By: David M. Boje, Ph.D. 14
QUANTUM STORYTELLING
Its all about what we use, reuse, care for, or just are careless about.
Its all about our entanglement as material body in larger assemblages of material processes.
Presented By: David M. Boje, Ph.D. 15
SOCIO-ECONOMIC ASSEMBLAGES“Performance is not the result of putting together resources (things);
it’s the result of dynamic historical movement: -Savall in Boje 2011:383)
Boje: “An assemblage is migrative, iterant, in movement whereas a network is ties, connections that recur, that pattern being more stable” (p. 384).
“Agency is not just juman, but the configurative assemblage of materiality has energy --- ‘vibrant energy’ (p. 384).
We do not find an assemblage process, complete, in form, but it is of different places, times, etc.
Presented By: David M. Boje, Ph.D. 16
EXERCISE 3: CAN YOU TELL A STORY WITHOUT YOUR MATERIALITY?
In what ways are you always in relationship to materiality assemblages?
How is all this materiality, the material assemblages, related to your storytelling practices?
Presented By: David M. Boje, Ph.D. 17
WHAT IS OBSERVER EFFECT?
Presented By: David M. Boje, Ph.D. 18
OBSERVER EFFECT?
Presented By: David M. Boje, Ph.D. 19
EXERCISE 4: WHAT ARE OBSERVER EFFECTS OF QUANTUM STORYTELLING?
Quantum storytellers observe the materiality assemblages all around them.
How do you observe your embeddedness in material assemblages?
How does your voice use material waves, your writing is material, your sight uses light waves, your hearing, the sound waves, your smelling uses it, your body sense touch of vibrations, and your gestures move in spacetimemattering?
What effect does you observing your body in space, in time, in mattering, i.e. in spacetimemattering have on you?
Presented By: David M. Boje, Ph.D. 20
EXERCISE 5: WHAT IS QUANTUM STORYTELLING BEYOND THE SENSES
Tell a story with out the wave of voice or sight, the smells, or touches of material, or any material gestures.
Can this be done?
How are you in your body, yet not in your body, only in language?
Is your consciousness separate from the material world?
Are you a social construction?
Presented By: David M. Boje, Ph.D. 21
EXERCISE 6: SUBATOMIC QUANTUM STORYTELLING
Can you exist with out photons of light?
Can you exist without oxygen? How long can you hold your breath?
Can you live in artificial light?
Can we be blind, deaf, mute, and still tell stories?
How does closing your eyes change your mood, in your storytelling?
Presented By: David M. Boje, Ph.D. 22
EXERCISE 7: WHAT KIND OF MATERIAL IS LIGHT?
Presented By: David M. Boje, Ph.D. 23
TAMARA-LAND (BOJE, 1995 AMJ)
Presented By: David M. Boje, Ph.D. 24
EVOLUTIVE INTERACTIVE ACTORS POLYGON (EIAP)
EIAP is Savall’s answer to Latour’s ANT.
EIAP is part of Qualimetric Intervention Research (QIR)
Actors A and B have a meeting at 10:45AM
Both arrive on time
The meeting lasts till 10:55AM
B leaves
11AM Actor C takes a meeting with actor A – what A says to C is not same as said to B
You cannot trace the meaning if you do not understand the dynamic assemblage happening (TAMARA-LAND)
QUANTUM STORYTELLING
Presented By: David M. Boje, Ph.D. 25
TAMARA-LAND POINT
You cannot understand the very different meanings of simultaneous conversations in different rooms, if you have not been a part of the different assemblages.
10:45 to 11:45 is Act One
10:55-11:15 is Act Two
The acts make up a scene, that are part of other scenes.
In a bad play, the props are not appropriate
Organization change, is a change in assemblages, and the props and actors, the acts and scenes matter
Quantum Storytelling
Presented By: David M. Boje, Ph.D. 26
TYPE 7: Liquid Quantum
Materialist Rhetoric
TYPE 1: Representationalist Materialist Rhetoric
(Russian Formalism | Structuralism |
Linguistics TYPE 2: Marxist Historical Materialist
RhetoricTYPE 6: Bakhtinian Dialogical Materialist
Rhetoric
TYPE 3: Foucauldian Postmodernist
Fragmented Materialist Rhetoric
TYPE 5: Postmodern Althusserian Aleatory Materialist Rhetoric
TYPE 4: Barad/Strand Constitutive
Materialist Rhetroic (Bohr)