Browsing by Subject "Improvisation"
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Item The city of living garbage : improvisational ecologies of Austin, Texas(2010-05) Webel, Scott Michael; Stewart, Kathleen, 1953-; Ali, Kamran A.; Hartigan, John; Davis, Janet M.; Stone, Allucqu�re R.“The city of living garbage” tours private houses in Austin transformed by their inhabitants into quasi-public places – art environments and permaculture systems made possible by urban waste. The creators of these micro-utopias collect and improvise with salvaged materials like roadside junk, greywater, unwanted animals, and half-forgotten cultural forms to cultivate habitats where undervalued things flourish. They revalue waste through a variety of practices like caring for, teaching, learning, enjoying, and tinkering. Becoming part of these relational patterns is a way to slow down and find wonder and pleasure in the ordinary, but also to act on ecological problems in the larger world. The landscape patches that emerge are lively but vulnerable assemblages that artists, activists, and their nonhuman allies belong to as local characters. By being open for tours, the places loosely connect publics that share modes of attention set on urban natures, salvageable garbage, and vernacular aesthetics. These informal institutions, non-profits, and vulnerable for-profit businesses are caught up in Austin’s current sustainable and cultural development strategies, but also share in an informal economy through their use of valueless wastes. Some articulate with contemporary localization movements that seek to reconfigure water, food, and energy production to decrease their precarious dependence on globalized economies. Others refuse the boundary between art and everyday life by recasting houses as never-ending aesthetic projects. Similarly, as wildlife habitats and urban gardens, they are thriving examples of cultivated places that disrupt an assumed antithesis between cities and ecosystems. These embodied critiques or dreams are small-scale manifestations of what urban natures might become. Borrowing from Deleuze & Guattari, Haraway, Latour, and Thrift, I attend to these places’ ecological and aesthetic relational dynamics that communicate directly through bodies, senses, and forms. This non-representational approach recognizes the contributions of nonhuman agents like plants, animals, microbes, and machines in composing affective landscapes. The writing strives to be a mode of research that is isomorphic with the phenomena it describes. It is impelled by a love of the places, people, and beings it researches; it aspires to preserve a little bit of them by redoubling their presence in the world.Item Dogging it at work : developing and performing organizational routines as a minor league baseball mascot(2015-05) Birdsell, Jeffrey LaVerne; Browning, Larry D.; Berkelaar, Brenda L; Streeck, Jürgen; Brummett, Barry; Green, B. ChristineReferring to an employee as “the face” of an organization suggests that an individual worker’s actions may transmit information about the kind of organization they represent. Mascots in a baseball stadium make that metaphor material by wearing an organizationally prescribed mask and performing in the name of the organization (Keller & Richey, 2006; MacNeill, 2009). This study investigated how one baseball mascot, Spike of the Round Rock Express, embodied his team’s identity through the activation of organizational routines by analyzing video recordings, autoethnographic field notes, and stories (Heath & Luff, 2013). Recognizing the highly symbolic work of a mascot work has implications for the performer, audience members, and organizations who rely on mascots to enhance the stadium experience. Additionally, this research provides suggestions for future mascot performers on how they might come to “know your role and play it to the hilt” (Devantier & Turkington, 2006). Organizational routines combine three recursive dimensions: the ostensive, understandings an employee brings to his or her work, the performative, actions an employee takes while doing his or her work, and the artifactual, material objects an employee uses or creates in order to facilitate work tasks (Feldman & Pentland, 2003). This research begins with an exploration of how I developed occupational and organizational role expectations. In order to know my role, I had to learn Spike’s identity: what he must do, may do, and can do (Strauss, 1959; Enfield, 2011). I specifically recognize the ways I came to understand my role as someone who embodies the mission of the organization through the preparation of artifacts for performance and protection of the audience for whom I am performing. The performative dimension is explored by identifying instances when my performance challenged established understandings of Spike’s identity, specifically in instances where I was unprepared for a scenario or chose to protect one group’s interest over another’s. In these unanticipated moments, I often found myself turning other participants in the stadium event, like fans and coworkers, into co-performers and relied on their improvisational offerings to inform my ongoing performance (Eisenberg, 1990; Meyer, Frost, & Weick, 1998).Item Time out : organizational training for improvisation in lifesaving critial teams(2012-08) Ishak, Andrew Waguih, 1982-; Browning, Larry D.; Ballard, Dawna I.; Stephens, Keri K.; Maxwell, Madeline M.; Ziegler, Jennifer A.Exemplified by fire crews, SWAT teams, and emergency surgical units, critical teams are a subset of action teams whose work is marked by finality, pressure, and potentially fatal outcomes (Ishak & Ballard, 2012). Using communicative and temporal lenses, this study investigates how organizations prime and prepare their embedded critical teams to deal with improvisation. This study explicates how organizations both encourage and discourage improvisation for their embedded critical teams. Throughout the training process, organizations implement a structured yet flexible “roadmap”-type approach to critical team work, an approach that is encapsulated through three training goals. The first goal is to make events routine to members. The second goal is to help members deal with non-routine events. The third goal is to help members understand how to differentiate between what is routine and non-routine. The grounded theory analysis in this study also surfaced three tools that are used within the parameters of the roadmap approach: experience, communicative decision making, and sensemaking. Using Dewey’s (1939, 1958) theory of experience, I introduce a middle-range adapted theory of critical team experience. In this theory, experience and sensemaking are synthesized through communicative decision making to produce decisions, actions, and outcomes in time-limited, specialized, stressful environments. Critical teams have unique temporal patterns that must be considered in any study of their work. Partially based on the nested phase model (Ishak & Ballard, 2012), I also identify three phases of critical team process as critical-interactive, meaning that they are specific to action/critical teams, and they are engaged in by critical teams for the expressed purpose of interaction. These phases are simulation, adaptation, and debriefing. These tools and phases are then placed in the Critical-Action-Response Training Outcomes Grid (CARTOG) to create nine interactions that are useful in implementing a structured yet flexible approach to improvisation in the work of critical teams. Data collection consisted of field observations, semi-structured interviews, and impromptu interviews at work sites. In total, I engaged in 55 hours of field observations at 10 sites. I conducted 31 semi-structured interviews with members of wildland and urban fire crews; emergency medical teams; and tactical teams, including SWAT teams and a bomb squad. I also offer practical implications and future directions for research on the temporal and communicative aspects of critical teams, their parent organizations, and considerations of improvisation in their work.