MAPPING QUANTUM STORYTELLING A GUIDE TO THE INTRAPLAY

MAPPING QUANTUM STORYTELLING A GUIDE TO THE INTRA-PLAY OF 7 PLUS MATERIALITIES

Quantum Storytelling MAPPING THE ASSEMBLAGES OF HUMAN & NON-HUMAN Your Clothing Your Tools Computers, pencil, pen… Your Food Inside & carried along Your cosmetics Make up, deodorant, sprays… Each item tells a quantum story Is part of larger socioeconomic assemblage processes Not of same Places, or Times, or Pressures, or Agencies, or Optics ? You Presented By: David M. Boje, Ph. D. 2

STORYTELLING Working Conditions STORYTELLING Structures STORYTELLING Behaviors STORYTELLING Hidden Costs Presented By: David M. Boje, Ph. D. 3

SEAM-STORYTELLING WORKING CONDITIONS ØAre 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 ØAre material assemblages of sociomaterial networks, dialogic relations, supply chains, specialties, administrative order, etc. Presented By: David M. Boje, Ph. D. 4

SEAM-STORYTELLING 3 C’s TIME MANAGEMENT ØAssemblages 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. ØTimes 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. 5

SEAM-STORYTELLING TRAINING STRATEGIC IMPLEMENTATION ØAssemblages 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. ØTransforming 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. 6

ANATOMY OF SEAM-STORYTELLING Working Conditions SEAM-STORYTELLING Material STORYTELLING Structures STORYTELLING Behaviors Quantum SEAMSTORYTELLING Hidden Costs Birth of new Methods Presented By: David M. Boje, Ph. D. 7

SEAM-STORYTELLING 3 times Better than 1 Presented By: David M. Boje, Ph. D. 8

What’s In SEAMSTORYTELLING? Sociomateriality Socioeconomic Accounting Distrust of Speculative Economics What’s Out? Petrified Narrative Linear Narrative De-material Narrative Presented By: David M. Boje, Ph. D. 9

1 ST QUANTUM STORYTELLING EXERCISE ØOn 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, i. Phone, ear buds, nail polish, books, papers, notebooks, post-it notes, etc. ØAfter a complete list is written out, join with a partner and interview them about their material accompaniments. ØEveryone is a quantum storytelling assemblage! Presented By: David M. Boje, Ph. D. 10

STAR ACTOR-NETWORK-THEORY: BRUNO LATOUR NOT SAME PLACES (not isotopic NOT SAME OPTIC (not synoptic) NOT SAME AGENCIES (not homogeneous) NOT SAME TIMES (not synchronic) NOT SAME PRESSURES (not isobaric) Presented By: David M. Boje, Ph. D. 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

DEFINING VITAL MATERIALISM Ø“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. 12

EXERCISE 2: TELL THE ‘ONTO-STORY’ OF YOUR ASSEMBLAGE OF MATERIAL THINGS Ø 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 Ø Each of you assemblages are different! (Boje, 2011; 385). Ø Trace the onto-story of the various PLACES, TIMES, PRESSURES, AGENCIES, OPTICS of different assemblages you brought into the room. Ø Each assemblage is part of a larger socioeconomic process. Trace the socioeconomic processes of which various artifacts are participants (in larger assemblages). Ø Define Vibrant Matter of your most lively thing-assemblages (aka ‘material vitalism). Presented By: David M. Boje, Ph. D. 13

QUANTUM STORYTELLING ØIts all about what we use, reuse, care for, or just are careless about. ØIts all about our entanglement as material body in larger assemblages of material processes. Presented By: David M. Boje, Ph. D. 14

SOCIO-ECONOMIC ASSEMBLAGES Ø“Performance is not the result of putting together resources (things); it’s the result of dynamic historical movement: -Savall in Boje 2011: 383) ØBoje: “An assemblage is migrative, iterant, in movement whereas a network is ties, connections that recur, that pattern being more stable” (p. 384). Ø“Agency is not just juman, but the configurative assemblage of materiality has energy --- ‘vibrant energy’ (p. 384). ØWe do not find an assemblage process, complete, in form, but it is of different places, times, etc. Presented By: David M. Boje, Ph. D. 15

EXERCISE 3: CAN YOU TELL A STORY WITHOUT YOUR MATERIALITY? ØIn what ways are you always in relationship to materiality assemblages? ØHow is all this materiality, the material assemblages, related to your storytelling practices? Presented By: David M. Boje, Ph. D. 16

WHAT IS OBSERVER EFFECT? Presented By: David M. Boje, Ph. D. 17

OBSERVER EFFECT? Presented By: David M. Boje, Ph. D. 18

EXERCISE 4: WHAT ARE OBSERVER EFFECTS OF QUANTUM STORYTELLING? ØQuantum storytellers observe the materiality assemblages all around them. ØHow do you observe your embeddedness in material assemblages? ØHow 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? Ø 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. 19

EXERCISE 5: WHAT IS QUANTUM STORYTELLING BEYOND THE SENSES ØTell a story with out the wave of voice or sight, the smells, or touches of material, or any material gestures. ØCan this be done? ØHow are you in your body, yet not in your body, only in language? ØIs your consciousness separate from the material world? ØAre you a social construction? Presented By: David M. Boje, Ph. D. 20

EXERCISE 6: SUBATOMIC QUANTUM STORYTELLING ØCan you exist with out photons of light? ØCan you exist without oxygen? How long can you hold your breath? ØCan you live in artificial light? ØCan we be blind, deaf, mute, and still tell stories? ØHow does closing your eyes change your mood, in your storytelling? Presented By: David M. Boje, Ph. D. 21

EXERCISE 7: WHAT KIND OF MATERIAL IS LIGHT? Presented By: David M. Boje, Ph. D. 22

TAMARA-LAND (BOJE, 1995 AMJ) Presented By: David M. Boje, Ph. D. 23

QUANTUM STORYTELLING EVOLUTIVE INTERACTIVE ACTORS POLYGON (EIAP) Ø EIAP is Savall’s answer to Latour’s ANT. Ø EIAP is part of Qualimetric Intervention Research (QIR) Ø Actors A and B have a meeting at 10: 45 AM Ø Both arrive on time Ø The meeting lasts till 10: 55 AM Ø B leaves Ø 11 AM Actor C takes a meeting with actor A – what A says to C is not same as said to B Ø You cannot trace the meaning if you do not understand the dynamic assemblage happening (TAMARA-LAND) Presented By: David M. Boje, Ph. D. 24

Quantum Storytelling TAMARA-LAND POINT ØYou cannot understand the very different meanings of simultaneous conversations in different rooms, if you have not been a part of the different assemblages. Ø 10: 45 to 11: 45 is Act One Ø 10: 55 -11: 15 is Act Two ØThe acts make up a scene, that are part of other scenes. ØIn a bad play, the props are not appropriate ØOrganization change, is a change in assemblages, and the props and actors, the acts and scenes matter Presented By: David M. Boje, Ph. D. 25

TYPE 1: Representationalist Materialist Rhetoric (Russian Formalism | Structuralism | Linguistics TYPE 6: Bakhtinian Dialogical Materialist Rhetoric TYPE 5: Postmodern Althusserian Aleatory Materialist Rhetoric TYPE 7: Liquid Quantum Materialist Rhetoric TYPE 2: Marxist Historical Materialist Rhetoric TYPE 3: Foucauldian Postmodernist Fragmented Materialist Rhetoric TYPE 4: Barad/Strand Constitutive Materialist Rhetroic (Bohr) Presented By: David M. Boje, Ph. D. 26