— Cultural Sources of Newness

When Berliners first saw the new WZB campus designed by James Stirling, they dubbed it “die Geburtstagstorte” (the birthday cake)–inspired by the timing (the 750th anniversary of the city) and the pink and blue stripes around several parts of the building that are reminiscent of thick layers of icing on a cake. When I went to the Staatsgalerie in Stuttgart to speak at the 3rd Forum on “CSR und Kultur”  this week, I felt like I was visiting an older sibling of the WZB, because I was surrounded by familiar Stirling forms and colours. However, although we used many images during the presentations and discussions about the relationships between CSR and culture, “icing on the cake” was definitely not among them!

Staatsgalerie Stuttgart

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After I wrote my post about this year’s theme of Nichtwissen at the Kulturwissenschaftliches Kolleg, my WZB colleague Michael Hutter brought to my attention that the February issue of Economy and Society is dedicated to the topic of “strategic unknowing.” It turned out to be the beginning of a multisensory process of engagement with the topic for a few days. My fingers immediately reached out to the keyboard to download the introductory article (accessible free of charge from the journal website), then, pencil gliding across the page, I read it. My ears joined into the process of engaging with the topic that night, when I tuned into a recent edition of the BBC discussion program The Forum dedicated to the subject of ignorance with a neuroscientist, a novelist, and a microfinancier. A day later, a BBC interview with a Greek novelist unexpectedly helped me see into the heart of the matter.  

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My first intellectual introduction to the topic of valuing waste was when the anthropologist Mike Thompson was a visiting fellow at the International Institute for Environment and Society of the WZB in the late-1970s. He was working on his Rubbish Theory at the time (in between his treks in the Himalayas, a passion he shared with our WZB colleague Rob Coppock, who was working on chaos theory). If I don’t count learning about the garbage can theory of decision making, my next intellectual engagement with the subject came many years later when my colleagues at the research unit Cultural Sources of Newness chose texts by Boris Groys for our internal seminar. We discussed how things that society no longer values become sources of new value at later points in time and we explored the potential usefulness of the concept of re-valorization for our research program at the WZB.

The concept intrigued me, but it was not until André Sobczak introduced me to the French artist Serge Crampon  in 2009, that it really made sense to me. Serge’s art emerges from materials that nature and humans abandon, items he discovers during his walks and brings back to his studio, where he reveals their essence in a new creation.

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The past ten days have been spent in almost constant motion. One way of characterizing them is as working across boundaries, disciplinary and geographical. At a Kolleg seminar in Konstanz (D), at a conference in Liège (B), and at meetings in Nantes (F). Each opportunity in different cultural settings to share my research questions and findings about artistic interventions in organizations is also an opportunity to learn from others, be it through their questions or their stories.

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Wenn ein sonntäglicher Kinobesuch in “Arbeit” ausartet: Der Dokumentarfilm „Work hard, play hard“ macht Arbeit nicht nur zum Thema, sondern weist auch Schnittstellen zu Kulturellen Quellen von Neuheit auf, die mir zu denken geben. Auch hier geht es um kreative Räumen und Köpfe und die Pflege von Innovationskulturen. Ein Film über die “postindustriellen Werkstätten der Wissens- und Dienstleistungsarbeit.”

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Imagine my delight when I learned from Fred Girod this week that this year’s theme at the Institute for Advanced Study Konstanz (Kulturwissenschaftliches Kolleg) is “Nichtwissen”! I have been addressing issues of “not-knowing” and “unknowing” in my research on organizational learning and artistic interventions in organizations, as well as in my teaching of cross-cultural management for several years, but this is the first time I have encountered a community of scholars interested in the topic. This is one of the kind of discoveries and stimuli for new learning that a Kolleg is meant to enable. 

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My first Sunday in Konstanz as a fellow at the Institute for Advanced Study Konstanz started with the discovery of a “controversial new idea” presented by public artist from the UK, Andrew Shoben, on a BBC Radio 4 program “Change of Art”. Schoben is concerned that art works created in the past decades appear to have little or no meaning to the public in whose midst they are placed. He is looking into “decommissioning” art that was created in response to a commission by a government body (e.g., local authority) by rotating or retiring the art work. The BBC site led me to the blog of a PhD student in the UK who is conducting interesting research on public art.

Lenk's Imperia with pope and king, Konstanz harbour

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Vielleicht kann sich die eine oder der andere noch an Leseerlebnisse aus der Kindheit erinnern, wenn einem ein Buch völlig in den Bann schlug und man nicht mehr las, sondern nur noch über die Zeilen flog, begierig zu erfahren, wie es denn nun weitergeht. Es gab nur dieses Buch, Tag und Nacht, alles andere war surreal. Zugleich registrierte man mit wachsender Sorge, wie die Seiten dahin schmolzen und wusste, bald wäre das Ende erreicht, dann müsste man wieder auftauchen aus der literarischen Welt und zurückkehren ins profane Diesseits. Und als dann tatsächlich die letzte Seite erreicht und die allerletzte Zeile gelesen war, machten sich eine große Leere und eine tiefe Trauer breit. Es war vorbei. Nichts konnte einen fesseln, kein neues Buch und schon gar nicht der Alltag. Am liebsten hätte man das Gelesene aus dem Gehirn radiert und noch mal von vorn begonnen – wieder und immer wieder.

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Angeregt durch die Diskussionsbeiträge von Thomas und Sophie auf unserer Klausurtagung Ende November zum Ngram-Viewer und zum Topic-Modeling, habe ich mich in den letzten Monaten in Mußestunden oder bei Schreibblockaden im Netz nach Visualisierungstools umgesehen.

Die Grundfrage ist denkbar einfach, um nicht zu sagen banal: Ausgehend von der Binsenweisheit „Ein Bild sagt mehr als tausend Worte“, suchte ich nach Tools, die mir die Arbeit vereinfachen können, und zwar sowohl die Forschungs- als auch die Präsentationsarbeit. Dabei ging es mir um möglichst simple und altersgerechte Tools, für deren Handhabung ich kein Sonderstudium benötige.

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Can an old electric power transformation building be a cultural source of newness? Yes, if, like the Ewerk in Berlin,  it transforms itself into an incredibly cool techno club—then retransforms itself into a venue for more bourgeois events like a gathering of European academics seeking research funding. And that brings me to my second question: Can speed dating be a cultural source of newness? Maybe. This was the idea of the organizers of the HERA matchmaking event I attended today.  

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