The metaphor of “repertoire” is increasingly used in the study of contention to convey the fact that people act collectively through a limited set of cultural routines. Yet despite its broad adoption, the term is loosely defined and rarely subject to empirical verification. This has led to unfruitful scholarly disputes, with most perspectives assuming that change in repertoires is independent from how actors perform them. Drawing a parallel between the dynamics of repertoire performance and jazz improvisation, I propose a pragmatist (...) definition of repertoires, understood as relational sets of collective practices that become routinized as habit-sets and become a baseline for innovation when actors face puzzling situations. I then provide a theoretical model for analyzing change in contentious repertoires, which relies on the study of the co-constitutive relation between tactical affordances, actors’ strategies and identities, and contexts. I illustrate this model with three secondary cases of unexpected tactical innovation. (shrink)

This article explores and challenges notions and methodologies of conservation, including the use of blockchain technologies as a means of establishing provenance of a physical BioArtwork, of the artist’s documentation encapsulating their intentions and of the conservator’s records required for the artwork’s ongoing care. The exploration is done through a case study of an art project called ‘Unruly Objects and Biological Conservation’ created by Anna Dumitriu with support from Alex May. The artwork consists of three items containing RFID tags sealed (...) in resin – which point to the location of the artist’s documentation. Therefore, the works physically include instructions for maintaining their inherent concepts and materiality for the benefit of the conservators. Such instructions can often be difficult to track down, or become disassociated from the artwork while the digital preservation of this storage method also poses its own set of questions. The works also include biological material including mud from a bacterial ecosystem known as a Winogradsky Column, living plant material and SARS-CoV-2 (coronavirus) RNA from a plasmid construct. (shrink)

Sociologists increasingly draw on dual-process models of cognition to account for the ways context, cognition, and action interrelate. Drawing from 40 interviews with improvisers and observations from improvisational theater, I find that dual-process model scholarship is limited in three respects: It does not consider how cognition operates in situations where order and disruption are concurrent, it fails to realize there is interindividual variation in cognitive processing, and it underestimates the creativity emerging through automatic processes. Interactions in improv contain elements of (...) both order and disruption, and they place demands on automatic and deliberate cognition simultaneously. Improvisers respond to these competing demands through either automatic or deliberate thinking dispositions, which are engendered through explicit instruction, practical experience, and artistic commitments. These dispositions, in turn, shape creative decision-making, predicting interindividual differences in how improvisers respond to contingencies on stage. I conclude by discussing the implications for culture, cognition, and action. (shrink)

This article provides a sociological explanation for urban “greening,” the normative practice of using everyday signifiers of nature to fix problems with urbanism. Although greening is commonly understood as a reaction against the pathologies of the industrial metropolis, such explanations cannot account for greening’s recurrence across varied social and historical contexts. Through a study of greening in Germany’s Ruhr region, a polycentric urban region that has repeatedly greened in the absence of a traditional city, I argue that greening is made (...) possible by a social imaginary of nature as an indirect or moral good, which I call urbanized nature, that is an outcome of, and subsequently becomes a variable in, urbanization. I draw on processual accounts of urbanization and the sociology of morality to explain urbanized nature’s emergence in the Ruhr at the beginning of the twentieth century, and its use to fulfill two competing visions of urban democracy in the postwar period. I find that rather than an ideological reaction against cities, greening is an aspirational practice that can be mobilized by a range of actors in a variety of places and times. By showing how a new social imaginary made new forms of moral action possible and how those ideals were then materialized in urban space, this article draws attention to the role of cultural imaginaries in urban change and to the material consequences of moral beliefs. (shrink)

Population ageing and increased digitalization each constitute an ongoing and profound transformation within contemporary modes of living, as growing advances in technological development mix and intermingle with the lived realities of older people as the final recipients. It is against the backdrop of this interplay that user involvement has enjoyed ever-rising advocacy to an almost normative degree. Beyond articulating methodological principles, however, the literature has remained surprisingly vague as to the practical implementation of the approach. Less appears to be known, (...) both empirically and conceptually, about how design and user involvement are done in practice and how they would matter to bring about intentional or unintentional effects. To engage with these developments, this thesis aims at taking the practices of user involvement and design to the centre of its inquiry by adopting a perspective from Science and Technology Studies. Specifically, the thesis seeks to both build on and contribute to the established body of STS on the connection between technology design and older users and ask: What is there to learn about user involvement as a method, if we focus on the practices of doing user involvement? To answer this question, the thesis studies four different aspects of the practices of user involvement and design. In particular, the thesis reviews the literature on how user involvement mattered in previous empirical projects that include older people, it examines how different configurations of participation matter in design workshops, it scrutinizes the achievement of user involvement in corporate practices and it traces the circumstantial performances of such practices. The largest empirical piece comes from a two-year ethnographic study of a small- to medium-sized enterprise, the material from which informed Paper III and Paper IV. The findings highlight how user involvement in practice is both contingent and transformative, as it selectively enrols different participants and performs multiple realities. In practice, user involvement appears to be dependent on a set of underlying premises and socio-material conditions and thus is always a dynamic and momentary achievement. Furthermore, the thesis shows how the practices of user involvement themselves may bring into existence different realities, articulating and materializing particular versions of objects and images of ageing. Accordingly, the thesis contributes theoretically by illuminating the underlying socio-material facets of user involvement, and by emphasizing ageing as a particular object/image of design. Specifically, the appended papers encompass a conceptual framework, as well as three new concepts: design multiple, shifting interstices and viscous image landscape, in order to theorize the underlying conditions for user involvement, its relationship with design and its entanglement with ageing. Practically, the thesis enunciates three main implications regarding questions of goodness, politics and ethics. (shrink)