Information System ProcessInnovation Adoption, Adaptation, Learning, and Unlearning: A Longitudinal Case Study

This thesis examines the history and evolution of information system process innovation (ISPI) processes (adoption, adaptation, and unlearning) within the information system development (ISD) work in an internal information system (IS) department and in two IS software house organisations in Finland over a 43-year time-period. The study offers insights into influential actors and their dependencies in deciding over ISPIs. The research usesa qualitative research approach, and the research methodology involves the description of the ISPI processes, how the actors searched for ISPIs, and how the relationships between the actors changed over time. The existing theories were evaluated using the conceptual models of the ISPI processes based on the innovationliterature in the IS area. The main focus of the study was to observe changes in the main ISPI processes over time. The main contribution of the thesis is a new theory. The term theory should be understood as 1) a new conceptual framework of the ISPI processes, 2) new ISPI concepts and categories, and the relationships between the ISPI concepts inside the ISPI processes. The study gives a comprehensive and systematic study on the history and evolution of the ISPI processes; reveals the factors that affected ISPI adoption; studies ISPI knowledge acquisition, information transfer, and adaptation mechanisms; and reveals the mechanismsaffecting ISPI unlearning; changes in the ISPI processes; and diverse actors involved in the processes. The results show that both the internal IS department and the two IS software houses sought opportunities to improve their technical skills and career paths and this created an innovative culture. When new technology generations come to the market the platform systems need to be renewed, and therefore the organisations invest in ISPIs in cycles. The extent of internal learning and experiments was higher than the external knowledge acquisition. Until the outsourcing event (1984) the decision-making was centralised and the internalIS department was very influential over ISPIs. After outsourcing, decision-making became distributed between the two IS software houses, the IS client, and itsinternal IT department. The IS client wanted to assure that information systemswould serve the business of the company and thus wanted to co-operate closely with the software organisations.

Unlearning

Keynote speaker for a one day symposium in Fine Art and Photography at De Montfort University, Leicester. The symposium looked at research as a rigorous process of investigation leading to new knowledge. It was aimed at visual arts practitioners wanting to account for their practices as forms of research. Two key questions were addressed: 1. How can arts practitioners account for the rigour of the methods they use in practice? 2. To what kinds of knowledge can their practices lead? Coutts' keynote looked at the concept of 'Unlearning' used by Marie Luisa Knott to explore what Hannah Arendt first had to do in order to rethink the atrocities carried out by the Nazis in the 20th Century. To be able to think anew means also to find a means for undoing what has previously been thought. Coutts looked to Arendt amongst other thinkers and artists, and used examples from within her own practice, to reflect on rigour in research and methods for legitimising a range of visual practices.

Sustainable futuring. Learning and unlearning the past A critical discourse study of ‘fashion sustainability’-related discursive formations in Vogue Italia (1965-2021)

Recent scholarly works on the relationship between ‘fashion’ and ‘sustainability’ have identified a need for a systemic transition towards fashion media ‘for sustaianbility’. Nevertheless, the academic research on the topic is still limited and rather circumscribed to the analysis of marketing practices, while only recently some more systemic and critical analyses of the symbolic production of sustainability through fashion media have been undertaken. Responding to this need for an in-depth investigation of ‘sustainability’-related media production, my research focuses on the ‘fashion sustainability’-related discursive formations in the context of one of the most influential fashion magazines today – Vogue Italia. In order to investigate the ways in which the ‘sustainability’ discourse was formed and has evolved, the study considered the entire Vogue Italia archive from 1965 to 2021. The data collection was carried out in two phases, and the individualised relevant discursive units were then in-depth and critically analysed to allow for a grounded assessment of the media giant’s position. The Discourse-Historical Approach provided a methodological base for the analysis, which took into consideration the various levels of context: the immediate textual and intertextual, but also the broader socio-cultural context of the predominant, over-production oriented and capital-led fashion system. The findings led to a delineation of the evolution of the ‘fashion sustainability’ discourse, unveiling how despite Vogue Italia’s auto-determination as attentive to ‘sustainability’-related topics, the magazine is systemically employing discursive strategies which significantly mitigate the meaning of the ‘sustainable commitment’ and thus the meaning of ‘fashion sustainability’.

Kolonialistisen suunnittelun käytäntöjen purkaminen

Kirjallisuusarvostelu

La ciudad editada: de Las Vegas a Nueva York (1972-1978): Venturi / Scott Brown / Koolhaas

Si hubiese un denominador común entre todas las artes en lo que ha venido llamándose postmodernidad, éste tendría mucho que ver con el final del origen de la obra. Desde la literatura y la música hasta las artes plásticas y la arquitectura, la superación de la modernidad ha estado caracterizada por la sustitución del concepto de creación por el de intervención artística, o lo que es lo mismo, la interpretación de lo que ya existe. A principios del siglo XX los conceptos modernos de creación y origen implicaban tener que desaprender y olvidar todo lo anterior con el ánimo de partir desde cero; incluso en un sentido material Mies sugería la construcción literal de la materia y su movimiento de acuerdo a unas leyes. A partir de la segunda mitad de siglo los planteamientos historicistas empezaron a surgir como reacción ante la amnesia y la supuesta originalidad de los modernos. En este contexto surgen los libros Learning from Las Vegas, 1972 y Delirious New York, 1978, ambos deudores en muchos aspectos con el anterior libro de Venturi, Complexity and Contradiction in Architecture, 1966. Estos dos libros sobre ciudades, alejándose decididamente de las tendencias historicistas de la época, proponían utilizar el análisis crítico de la realidad existente como vehículo para la teoría y el proyecto de manera simultánea, convirtiéndose indirectamente en Manifiestos. Si en un primer momento Venturi, Rossi y otros planteaban acabar con los límites formales establecidos por la modernidad, así como por cualquiera de los cánones anteriores, tomando la totalidad de la obra construida como sistema de referencia, - al igual que hiciera Eliot en literatura, - los libros de Las Vegas y Nueva York sugerían directamente borrar los límites de la propia disciplina, llegando a poner en duda ¿Qué puede ser considerado arquitectura? Sin embargo, debido precisamente a la ausencia total de límites y a la inmensidad del sistema referencial planteado, “todo puede ser arquitectura”, como apuntaba Hans Hollein en 1968, los libros proponen al mismo tiempo definir el campo de actuación de cada cual de manera individual. Los escritos sobre Las Vegas y Nueva York suponen por un lado la eliminación de los limites disciplinares y por otro, la delimitación de ámbitos de trabajo concretos para sus autores: los propios de cada una de las ciudades interpretadas. La primera parte de la Tesis, Lecciones, se ocupa del necesario proceso de aprendizaje y experimentación previo a la acción crítica propiamente dicha. Los arquitectos contemporáneos necesitan acumular material, conocimiento, documentación, experiencias... antes de lanzarse a proponer mediante la crítica y la edición; y al contrario que ocurría con los modernos, cuanto más abundante sea ese bagaje previo más rica será la interpretación. Las ciudades de Roma, Londres y Berlín se entienden por tanto como experiencias capaces de proporcionar a Venturi, Scott Brown y Koolhaas respectivamente, sus “personales diccionarios”, unas interminables imaginerías con las que posteriormente se enfrentarían a los análisis de Las Vegas y Nueva York. La segunda parte, Críticas, se centra en la producción teórica en sí: los dos libros de ciudades analizados en estrecha relación con el Complexity and Contradiction. El razonamiento analógico característico de estos libros ha servido de guía metodológica para la investigación, estableciéndose relaciones, no entre los propios escritos directamente, sino a través de trabajos pertenecientes a otras disciplinas. En primer lugar se plantea un importante paralelismo entre los métodos de análisis desarrollados en estos libros y los utilizados por la crítica literaria, observando que si el new criticism y el nuevo periodismo sirvieron de guía en los escritos de Venturi y Scott Brown, la nouvelle critique y su propuesta de identificación poética fueron el claro referente de Koolhaas al abordar Nueva York. Por otro lado, la relevancia ganada por la actividad de comisariado artístico y la aparición de la figura del curator, como autoridad capaz de utilizar la obra de arte por encima de las intenciones de su propio autor, sirve, al igual que la figura del editor, como reflejo de la acción transformadora y de apropiación llevada a cabo tanto en Learning from Las Vegas, como en Delirious New York. Por último y a lo largo de toda la investigación las figuras de Bergson y Baudelaire han servido como apoyo teórico. A través de la utilización que de sus ideas hicieron Venturi y Koolhaas respectivamente, se ha tratado de mostrar la proximidad de ambos planteamientos desde un punto de vista ideológico. La Inclusión propuesta por Venturi y la ironía utilizada por Koolhaas, la contradicción y la paradoja, no son sino el reflejo de lógicas que en ambos casos reaccionan al mismo tiempo contra idealismo y materialismo, contra modernidad y antimodernidad, en un continuo intento de ser lo uno y lo otro simultáneamente. ABSTRACT If there was a common denominator among all the arts in what has been called postmodernism, it would have much to do with the end of the origin of the artwork. From literature and music to fine arts and architecture, overcoming modernity has been characterized by replacing the concept of artistic creation by the one of intervention, in other words, the interpretation of what already exists. In the early twentieth century modern concepts of creation and origin involved unlearning and forgetting everything before with the firm intention of starting from scratch. Even in a material sense Mies suggested the literal construction of matter and its motion according to laws. From the mid-century historicist approaches began to emerge in response to the amnesia and originality alleged by moderns. In this context appeared the books Learning from Las Vegas, 1972 and Delirious New York, 1978, both debtors in many respects to the previous book by Venturi, Complexity and Contradiction in Architecture, 1966. These two books on cities, which broke away decidedly with the historicist trends of the time, proposed using critical analysis of the existing reality as a vehicle for theory and projecting at the same time, indirectly becoming manifests. If at first Venturi, Rossi and others pose to erase the formal limits set by modernity, as well as any of the canons before, taking the entire work built as a reference system, - as did Eliot in literature - the books on Las Vegas and New York proposed directly erasing the boundaries of the discipline itself, coming to question what could be considered architecture? However, and precisely because of the absence of limits and the immensity of the established framework, - “everything could be architecture” as Hans Hollein pointed in 1968, - the books suggested at the same time the definition of a field of action for each one individually. The cities of Las Vegas and New York represented on the one hand the elimination of disciplinary limits and on the other, the delimitation of specific areas of work to its authors: Those on each of the cities interpreted. The first part of the thesis, Lessons, attend to the necessary process of learning and experimentation before the critical action itself. Contemporary architects need to accumulate material, knowledge, information, experiences... before proposing through criticism and editing; and unlike happened with moderns, the most abundant this prior baggage is, the richest will be the interpretation. Rome, London and Berlin are therefore understood as experiences capable of providing Venturi, Scott Brown and Koolhaas respectively, their “personal dictionaries”, interminable imageries with which they would later face the analysis of Las Vegas and New York. The second part, Critiques, focuses on the theoretical production itself: the two books on both cities analyzed closely with the Complexity and Contradiction. The analogical reasoning characteristic of these books has served as a methodological guide for the research, establishing relationships, not directly between the writings themselves, but through works belonging to other disciplines. First, an important parallel is set between the methods of analysis developed in these books and those used by literary criticism, noting that if the new criticism and new journalism guided Venturi and Scott Brown´s writings, the nouvelle critique and its poetic identification were clear references for Koolhaas when addressing New York. On the other hand, the relevance gained by curating and the understanding of the figure of the curator as an authority capable to use artworks above the intentions of their authors, like the one of the Editor, reflects the appropriation and processing actions carried out both in Learning from Las Vegas, and Delirious New York. Finally and over all the research Bergson and Baudelaire figures resonate continuously. Through the use of their ideas done by Venturi and Koolhaas respectively, the research has tried to show the proximity of both approaches from an ideological point of view. Inclusion, as posed by Venturi and irony, as used by Koolhaas, contradiction and paradox are reflections of the logic that in both cases allow them to react simultaneously against idealism and materialism, against modernism and anti-modernism.

Self-organized phase transitions in neural networks as a neural mechanism of information processing.

Transitions between dynamically stable activity patterns imposed on an associative neural network are shown to be induced by self-organized infinitesimal changes in synaptic connection strength and to be a kind of phase transition. A key event for the neural process of information processing in a population coding scheme is transition between the activity patterns encoding usual entities. We propose that the infinitesimal and short-term synaptic changes based on the Hebbian learning rule are the driving force for the transition. The phase transition between the following two dynamical stable states is studied in detail, the state where the firing pattern is changed temporally so as to itinerate among several patterns and the state where the firing pattern is fixed to one of several patterns. The phase transition from the pattern itinerant state to a pattern fixed state may be induced by the Hebbian learning process under a weak input relevant to the fixed pattern. The reverse transition may be induced by the Hebbian unlearning process without input. The former transition is considered as recognition of the input stimulus, while the latter is considered as clearing of the used input data to get ready for new input. To ensure that information processing based on the phase transition can be made by the infinitesimal and short-term synaptic changes, it is absolutely necessary that the network always stays near the critical state corresponding to the phase transition point.

Everything in di Dark Muss Come to Light: A Postcolonial Investigation of the Practice of Extra Lessons at the Secondary Level in Jamaica's Education System

Despite the vast research examining the evolution of Caribbean education systems, little is chronologically tied to the postcolonial theoretical perspectives of specific island-state systems, such as the Jamaican education system and its relationship with the underground shadow education system. This dissertation study sought to address the gaps in the literature by critically positioning postcolonial theories in education to examine the macro- and micro-level impacts of extra lessons on secondary education in Jamaica. The following postcolonial theoretical (PCT) tenets in education were contextualized from a review of the literature: (a) PCT in education uses colonial discourse analysis to critically deconstruct and decolonize imperialistic and colonial representations of knowledge throughout history; (b) PCT in education uses an anti-colonial discursive framework to re-position indigenous knowledge in schools, colleges, and universities to challenge hegemonic knowledge; (c) PCT in education involves the "unlearning" of dominant, normative ideologies, the use of self-reflexivity, and deconstruction; and (d) PCT in education calls for critical pedagogical approaches that reject the banking concept of education and introduces inclusive pedagogy to facilitate "the passage from naïve to critical transitivity" (Freire, 1973, p. 32). Specifically, using a transformative mixed-methods design, grounded and informed by a postcolonial theoretical lens, I quantitatively uncovered and then qualitatively highlighted how if at all extra lessons can improve educational outcomes for students at the secondary level in Jamaica. Accordingly, the quantitative data was used to test the hypotheses that the practice of extra lessons in schools is related to student academic achievement and the practice of critical-inclusive pedagogy in extra lessons is related to academic achievement. The two-level hierarchical linear model analysis revealed that hours spent in extra lessons, average household monthly income, and critical-inclusive pedagogical tents were the best predictors for academic achievement. Alternatively, the holistic multi-case study explored how extra-lessons produces increased academic achievement. The data revealed new ways of knowledge construction and critical pedagogical approaches to galvanize systemic change in secondary education. Furthermore, the data showed that extra lessons can improve educational outcomes for students at the secondary level if the conditions for learning are met. This study sets the stage for new forms of knowledge construction and implications for policy change.

Among friends,

Among friends.--The Anglo-American school of polite unlearning.--The hundred worst books.--The convention of books.--In praise of politicians.--My missionary life in Persia.--The colonel in the theological seminary.--The romance of ethics.--The merry devil of education.

„Ob Wahrheit oder nicht, ich glaube die Geschichte“. Unbequeme Bildung zu demokratischer Mündigkeit

Vor dem Hintergrund der Flüchtlingsthematik illustriert die Autorin als Auftakt, wie sehr sich die Demokratie in westlichen Gesellschaften, die schon immer Frauen ausschloss, dem Abgrund nähert. Bildung, ob sie es will oder nicht, bildet indirekt oder direkt immer auch politisch-soziale Bedingungen und Verhältnisse ab, bildet in diese hinein, kann nicht unpolitisch sein. Demokratie und Politik finden nicht im Menschen statt, sondern entstehen zwischen den Menschen. Wie kann Bildung nun zum Demokratie lernen oder - um es mit Gayatri Chakravorty Spivak auszudrücken - Demokratie verlernen beitragen? Indem sich jede Bildung immer wieder prozessual einer Selbstprüfung aussetzt, um den Anspruch auf "Erziehung" mündiger BürgerInnen nicht durch die eigene Praxis zu verhindern, lautet die Antwort in diesem kritisch-feministischen und essayistischen Beitrag. Zudem brauche es Bildungsorte, wo es möglich ist, ein BürgerInnensein durch Erfahrung und politische Ideengeschichte zu lernen. (DIPF/Orig.)