A case for a widespread and participatory “image in (perpetual) motion” art
Then suddenly he freed my hands and my arms became wings, when he asked me: “Do you know summer?” for one day, for one moment, I ran out to see the color of the wind. We really flew above the houses, past gates, kitchen gardens, streets then we slid down among valleys in bloom where vines embrace olive trees. We touched down there, where the day gets lost looking for itself on its own, hidden among the trees
”
Il sogno di Maria, Fabrizio de Andrè
Dionysus Sculpture By Mahdi El Ghomri – photo. Jelena Sucic, Archive CSRP Institute
When the CSRP Institute, with the support of Pascal Mayor, initiated the campaign to fund the work of creating Dionysus (or Bacchus as otherwise known) they were simply fascinated by Mahdi El Ghomri’s decidedly site-specific technique of creation capable of storytelling through compositions of branches and leaves; however, they did not imagine that the bust of vine trunks, ivy leaves, and remnants of wire mesh created by El Ghomri was also a composition of disciplines, stories, and people assembled around a representation of Bacchus contained in a photograph, a witness to a moment that has survived history.
The archaeologist Massimo Izzo, who was asked his opinion on the sculpture, perceived the knobby trunk of the Dionysian vine joined by the knots being capable of representing the importance of the vine, wine and symbols of the god perfectly within the historical context. In “Dionysus 1900 – 2024,” time takes shape and tells of the flowering valleys whose vines were invaded by powdery mildew and attacked by phylloxera, an aphid of North American origin that plagued those territories from the late 1800s until the 20/30s of the 1900s. As also in the Langhe [Piemonte, Italy], the territory where the writer comes from, the olive tree was one of the crops that replaced that of the grapevine. Almost as if the Apollonian had taken revenge with incorrect chemical weapons against the Dionysian.
A 1900 “village” photo with the entire (male) citizenry posing to stand testimony as participants of the Carnival in Verscio [Canton Ticino, Switzerland], a bacchanalia with little wine in that unhappy year for the god Dionysus.
Pedemontese Carnival 1900 – Photo n.i., Centovalli and Pedemonte Museum ArchivesPedemontese Carnival 18.02.2024 – ph. Max KremmeIn the ivy, Luana Cavalli – CSRP Institute ArchiveStefan Früh with piva – ph.Jelena Sucic, CSRP Institute Archive Ivy crowning in the square – CSRP Institute Archive
How did this carnival come to life? How could one have arrived at a reenactment of that photo that would go beyond that photo and reestablish a proper dialectic between Dionysian and Apollonian, between the rules of one and those of the other? Certainly by running to see the color of the wind, as in Fabrizio de Andrè’s song, or as in a Hayao Miyazaki film. But how does it take off to become a tangible experience beyond theory and dreaming?
If this text were an interview, one would have to ask the artist how he became a casting manager, but also a producer, and also a director, and how the collaborations were embedded, first and foremost with Jelena Sucic, but then with the myriad of people of the region and the production realities of that area. So much has changed in the last 124 years, a change that perhaps the metal wire nets that wrap around the bust of Dionysus stand as a testament to.
Those who participated in the (no longer all-male) carnival could be asked why the remaking of that photo was not simply the point of arrival, but a testimony to a transition and perhaps a new beginning, as was that original Pedemontese Carnival in 1900. Imagining it is probably because the Carnival of the rediscovered Bacchus could not stop there, plastered in Apollonian, frozen joy. The Dionysian Carnival has its own rules, shared as every anarchist knows, rules that lead to its necessary dissolution in order to be reborn in other forms: in this case dispersing in a trance rave “there where the day is lost” to search for themselves hidden in the foliage…
Or perhaps it is more interesting to leave them the beauty of someday being able to tell their story from which other stories will multiply.
We are left to reason and enjoy the ability of an artist who had to go through so many identities in order to leave his own narcissism on one side to metamorphosize it into one that is collective.
Born in Alba (Italy) in 1970, he moved to Turin in 1989 where he studied Philosophy, Human Sciences and History of Cinema at the University of Turin. In 1999 he began his collaboration with the Torino Film Festival, where in 2005 he became curator of the Italian competitions (short films and documentaries). Three years later he created a new section dedicated to international documentaries in an attempt to introduce the most interesting and relevant films in Italy from a very specific cinematographic perspective: TFFdoc. From 2002 to 2009 he was programmer of From Sodom to Hollywood – Torino LGBT FIlm Festival for which he also curated several retrospectives. From 2015 to 2018 he was director of Doclisboa with Cíntia Gil and curated in 2019, again for Doclisboa, the retrospective dedicated to Jocelyne Saab. In 2022 he left the Torino Film Festival and now lives in Berlin as a freelancer trying to imagine new paths.
ovvero per un’arte “immagine in (perpetuo) movimento”, diffusa e partecipata
Poi d’improvviso mi sciolse le mani E le mie braccia divennero ali Quando mi chiese, “Conosci l’estate?” Io per un giorno, per un momento Corsi a vedere il colore del vento Volammo davvero sopra le case Oltre i cancelli, gli orti, le strade Poi scivolammo tra valli fiorite Dove all’ulivo si abbraccia la vite Scendemmo là dove il giorno si perde A cercarsi da solo nascosto tra il verde”
Il sogno di Maria, Fabrizio de Andrè
Scultura Dioniso di Mahdi El Ghomri
ph. Jelena Sucic, Archivio CSRP Institute
Quando il CSRP Institute, con il supporto di Pascal Mayor, ha avviato la campagna a finanziamento del lavoro di creazione del Dioniso (o Bacco che dir si voglia) erano semplicemente affascinati dalla tecnica di creazione decisamente site specific in grado di raccontare attraverso composizioni di rami e foglie di Mahdi El Ghomri e non immaginavano che quel busto di tronchi di vite, foglie di edera e resti di reti metalliche creato da El Ghomri fosse anche una composizione di discipline, storie e persone che si assemblavano intorno a una rappresentazione di Bacco contenuta in una foto, testimone di un momento sopravvissuto alla storia.
Al tronco bitorzoluto della vite dionisiaca si aggiungono i nodi individuati dall’archeologo Massimo Izzo capace di far risaltare l’importanza della vite, il vino e i simboli del dio nel contesto storico. Nel “Dioniso 1900 – 2024” il tempo prende forma e racconta delle valli fiorite le cui viti furono invase dall’oidio e attaccate dalla filossera, un afide di provenienza nordamericana che flagellò da fine ‘800 fino agli 20/30 del ‘900 quei territori. Come anche nelle Langhe, il territorio da cui proviene chi vi scrive, l’ulivo fu una delle coltivazioni che sopperì quella della vite. Quasi come se l’Apollineo si fosse preso una rivincita con scorrette armi chimiche sul Dionisiaco.
Una foto “di paese” del 1900 con tutta la cittadinanza (maschile) in posa per testimoniare il Carnevale a Verscio, baccanale con poco vino in quell’anno poco felice per il dio Dionisio.
Carnevale Pedemontese 1900 – Foto n.i., Archivio Museo Centovalli e PedemonteCarnevale Pedemontese 18.02.2024 – ph. Max KremmelIn edera, Luana Cavalli – Archivio CSRP InstituteStefan Früh con piva – ph.Jelena Sucic, Archivio CSRP InstituteIncoronamento d’edera in piazza – Archivio CSRP Institute
Come ci si era arrivati a quel Carnevale? Come si sarebbe potuto arrivare a un reenactment di quella foto che andasse al di là di quella foto e ristabilisse una giusta dialettica tra dionisiaco e apollineo, tra le regole dell’uno e quelle dell’altro? Senz’altro correndo a vedere il colore del vento come nella canzone di Fabrizio de Andrè o come in un film di Hayao Miyazaki. Ma come dare forma a quel volo? Se questo testo fosse un’intervista bisognerebbe chiedere all’artista com’è diventato casting manager, ma anche produttore, ma anche regista e come si sono incastonate le collaborazioni, in primis quella con Jelena Sucic, ma poi con gli/le abitanti della zona e con le realtà produttive di quel territorio che molto sono cambiate negli ultimi 124 anni, cambiamento che forse le reti metalliche che avvolgono il busto di Dioniso stanno a testimoniare.
Forse bisognerebbe chiedere a chi ha partecipato a quel carnevale (non più tutto maschile) perché il rifacimento di quella foto non è stato solo il punto di arrivo, ma la testimonianza di un passaggio e magari un nuovo inizio, come lo è stato quel (primo?) Carnevale Pedemontese nel 1900. Probabilmente perché il Carnevale del ritrovato Bacco non poteva fermarsi lì, ingessato in una gioia apollinea, gioia congelata. Il Carnevale dionisiaco ha le sue regole, condivise come ogni anarchico sa, regole che portano al suo dissolvimento necessario per poter rinascere sotto altre forme: in questo caso disperdendosi in un trance rave “là dove il giorno si perde” a cercarsi da soli nascosti nel verde… Ma forse è più interessante lasciare loro la bellezza di poter raccontare un giorno la loro storia da cui altre storie si moltiplicheranno. A noi resta la possibilità di ragionare e godere della capacità di un artista che tante identità ha dovuto attraversare per poter lasciare il proprio narcisismo da una parte e renderlo collettivo.
23.03.2024
Davide Oberto
Breve Bio dell’autore Davide Oberto
Nato ad Alba (Italia) nel 1970, si trasferisce a Torino nel 1989 dove studia Filosofia, Scienze Umane e Storia del cinema all’Università di Torino. Nel 1999 inizia la collaborazione con il Torino Film Festival, dove nel 2005 diventa curatore dei concorsi italiani (cortometraggi e documentari). Tre anni dopo crea una nuova sezione dedicata ai documentari internazionali nel tentativo di far conoscere in Italia i film più interessanti e rilevanti da una prospettiva cinematografica molto specifica: TFFdoc. Dal 2002 al 2009 è stato programmatore di From Sodom to Hollywood – Torino LGBT FIlm Festival per il quale ha curato anche diverse retrospettive. Dal 2015 al 2018 è stato direttore di Doclisboa con Cíntia Gil e ha curato nel 2019, sempre per Doclisboa, la retrospettiva dedicata a Jocelyne Saab. Nel 2022 ha lasciato il Torino Film Festival e ora vive a Berlino come freelance cercando di immaginarsi nuovi percorsi.
Imagine entering/becoming part of a space/organism and embodying ourselves in a fungal system or mycelium, a complex network of microscopic elongated cells (hyphae = us) with which the organism explores the environment and colonizes by networking the substrate from which it draws nourishment.
Nutrient sources must be sought, identified, and processed (through enzymes), so that they can be absorbed and contribute to the accumulation necessary for emergence (fungus or colony of fungi visible on the surface).
There are three main types of mycelium foraging behavior: saprotrophism, parasitism, and symbiosis. (choice/recognition).
The hyphae operate cohesively in synchrony, as they are now a mycelium (collectivity of one).
Preferred form of nourishment: beauty
Assimilation time: lunchtime
Accumulation area: the table of the former Cima Norma’s Pensionato, now Cima Città, interdisciplinary residency space
Expected emergences: 10 (1 per day)
Existence goal: to emerge from the substrate and spread elsewhere.
Nourishment Art
Welcome to our residency, a place where art and nutrition converge in a unique synergy. Here, twelve people from different backgrounds come together, united by a desire to create beauty and ask new questions. This art temple is a context for experimentation in which the daily meal becomes a shared experience, a work that unites us through methodology and collaboration. Keeping this atmosphere alive requires a constant and dedicated commitment from us all.
Under the guidance of knowledge sharing, we find inspiration in fermentation, an ancient symbol of transformation and rebirth that speaks deeply to our human story. We also explore the intricate pathways of information processing, that help shape, and influence our culture. As constantly evolving individuals, we collaborate to build a contemporary community that thrives on the creativity and ingeniousness of the collective. We face challenges as an integral part of our journey, adapting to natural life rhythms in symbiosis with all living things, building mutual trust and transforming our experiences into a collective work of art, celebrating food, that is also interpreted as a metaphor for the pursuit of knowledge.
In this context, we explore the connections we imagine and that bind us to one another, creating bridges for the exchange of ideas and resources, in a harmonious synergy with the mystery of the daily meal. This becomes the focus of a shared ritual, a harmonious fusion of art and nourishment that elevates the spirit and invites us towards reflection. Like the flow of time, we immerse ourselves in an intricate web of moments that reveal the complexity and interconnectedness of collaborative being.
What we offer
In our residency, we offer an experience closest to being comprehensive, which includes room and board. We gather and use high-quality local ingredients to ensure the best as we work together. We have seven shared rooms located in a 19th-century boarding house. We have several rooms for workshops, a fully equipped kitchen, and a dining room where everyone can gather. Nearby, we have a beautiful quiet area at the foot of a pine forest at an altitude of 800 meters and a river coming from the slopes of the highest mountain in the region (Adula), where we can explore various collective care practices and advanced cultivation approaches.
What are we looking for?
We aim to better understand the complex relationships within our ecosystem, from macro to micro systems, with a focus on nurturing as an artistic endeavor. We promote trust and self-managed sharing within the space and its structures. Selected participants will be provided with guidelines (outline program) to follow for orientation during the residency, while on a daily basis, we will engage in creative cycles to create artistic installations. In an ideal scenario, everyone will benefit from the development of artistic biomarkers, biological markers reflecting the artistic experience, and new receptors for connecting with the surrounding environment. To enhance the collective experience, we will incubate the practice of a variety of tools from neuroscience (biohacking) to help us focus
Who is the target audience?
Members of art communities, as well as advocates of the Slow Food movement and alternative therapists. People into fungi, herbalism, biology, chemistry and social sciences. From graduate students, researchers to practitioners and experts that want to engage in a collective multidisciplinary creative process.
Location
The residency is located at Cima Città, the former Pensionato of the glorious Cima Norma Chocolate Factory in Torre, in the picturesque Valle di Blenio, Switzerland.
Expenses Excluded
Transportation expenses are the responsibility of the participants, as well as personal care items. We do not refund personal expenses or special contributions unless agreed upon.
Residency Dates
From August 26th to September 4th, 2024, with priority given to those who can possibly attend the residency program for at least 5 consecutive dates (to be indicated in this form in response to the question).
Selected participants will be notified by end of June, 2024.
How will the announcement be made?
Initially via e-mail and personally (by Zoom), and then on the Future Fermentation IG platform.
Preparatory Meetings
Selected participants are expected to attend preparatory meetings (via Zoom).
Stakeholders
Curated by Matteo Fieni / Future Fermentation and Jelena Sucic / Creative Systemic Research Platform Institute. With the support of Cima Città. In collaboration with Camera F. Promoted by Fondazione La Fabbrica del Cioccolato.
Visitors Supporters*
In addition to offering sponsorship opportunities for entities interested in supporting our vision and research, we extend a warm welcome to special visitors. Guests can enjoy accommodation and lunch included for a daily rate to be agreed upon. Contact us to arrange your visit and experience our facilities firsthand.
Notes?
For any clarifications, please write to: nutri@futurefermentation.ch with the subject “Nourishment Art Residency.”
Other info?
For official updates, please refer to Future Fermentation Instagram account.
For those who prefer a printed version, books can be ordered through Springer , or booksellers including Amazon.
Book Contents
1 An Introduction to Industry 5.0: History, Foundations, and Futures
Gary S. Metcalf
2 The Complexity of Sustainable Innovation, Transitional Impacts of Industry 4.0 to 5.0 for Our Societies: Circular Society Exploring the Systemic Nexus of Socioeconomic Transitions
Manuel Morales, Susu Nousala, Morteza Ghobakhloo
3 Coping with Industry 5.0: An Assessment of Evolving Soft Skills for the Workplace
Ryan Armstrong, Carlos Javier Torres Vergara
4 AI Upskilling and Digital Twins: A Service Science Perspective on the Industry 4.0 to Industry 5.0 Shift
Jim Spohrer
5 Industry 5.0 and Artificial Semi-General Intelligence. Exploring Future Challenges and Opportunities Within Industries and Societies
Andrius Grybauskas
6 Artificial Intelligence Capabilities and Hyperselfish Intelligence, the Possible Impacts, and Why Humans Need Industry 5.0
Rohan Fernando
7 Incremental Adaptation or Generational Shift?
David Ing
Industry 4.0 to Industry 5.0
Explorations in the Transition from a Techno-economic to a Socio-technical Future
Susu Nousala, Gary Metcalf, David Ing 10.1007/978-981-99-9730-5
This Springer imprint is published by the registered company Springer Nature Singapore Pte Ltd.
The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore 189721, Singapore.
Why This Book?
The two main arguments for this book are its interdisciplinary perspective and its long-range if tentative view.
The chapters in this book offer multiple perspectives on the potential benefits, opportunities, challenges, and risks associated with the transition to Industry 5.0. They present, both individually and as a collection, an interdisciplinary view, interweaving ethics, a historical perspective, social factors, environment and ecology, and current threats, including climate change and the impacts of AI, identifying problems and suggesting solutions or at least possible paths forward. Beyond just the (much-needed) human-centric view, there is a focus on the interaction of Industry 5.0 with the world, and possible feedforward and feedback loops. There is a recognition that, while prioritizing human rights and dignity, both the health of the underlying economy and industrial base (and of the well-meaning and well-run enterprises implementing changes), on the one hand, and the health of the planet and the environment have to be respected. Further, it is understood that these factors are interwoven, and that major changes in any one need to be preceded by consideration of the effects on the other two, and subsequent interactions.
Moreover, for all three concerns—human, economic, and environmental, the book takes a long-term view, emphasizing sustainability and resilience. In systems engineering terms, design and implementation have to be preceded by and then accompanied by ongoing requirements and risk analysis, and careful and timely assessment to identify problems and support proper evolution. There is also an acknowledgment of the need to deal with different time scales. Some problems may become critical within a few years’ span; others may not get to that point for generations—but may be intractable if not addressed or anticipated immediately.
The long-term view, however, does not mean that the book aims to predict the future of the world, or of Industry 5.0, or of its major components and challenges, or that the authors and editors are foolish enough to think they can do so. Almost certainly, for example, no one can predict with any accuracy what AI will look like even by the end of next year, or what it will be doing, or what new challenges it will bring. Also, while the challenges of climate change are largely understood, predicting the rate of change or the sequence of problematic events is
difficult difficult at best. These difficulties are also evident through a gamut of stresses and relief, including political challenges to the world order, epidemics on the one hand and medical developments such as recent vaccines for malaria and cholera on the other, and totally unexpected developments such as cryptocurrency has been. For that reason, the remedies suggested in the book should be viewed not as long-term prescriptions, but as recommendations to be revisited and revised over time.
Rather, the book intends to present a snapshot of the issues, challenges, and possible paths forward as of late 2023, identifying the challenges and opportunities visible at this date, and steps that may work toward addressing the one and realizing the other. It would be wonderful if surprising if its projections were to prove precise and accurate, but a clear understanding of the present, and its (approximate) current position and velocity in the economic and social problem space, may be useful for those taking the next snapshot and seeking course correction.
Why This Team?
The project that resulted (if hopefully not culminated) in this book began with discussions among the Kaunas University of Technology (KTU) research team, who generously and foresightedly welcomed interaction and contributions from other parts of the world, giving the result an international and fully interdisciplinary flavor and breadth of perspective.
Moreover, the team includes practitioners as well as academics, and has chosen to offer a less theoretical snapshot, closer to the present, although the concepts of Industry 5.0, combined with systems science and a cybernetic view, guide the evolution of the text. It also recognizes that good science (and good economics) takes data, that data takes time to collect or generate—especially when examining long-term trends and concerns. Still, in the meantime, it is useful to provide as clear a picture of the situation as can be created, in part to improve the utility of that data once collected.
Not surprisingly for a deliberately interdisciplinary and multi-perspective volume, the editors and chapter authors have widely diverse backgrounds. Most are highly interdisciplinary themselves, having published on a wide variety of topics. Their collective expertise includes technology and computer science, engineering, ethics, philosophy of science, sustainability studies, interdisciplinary studies, education and pedagogy, social science, linguistics, the arts, and more.
The editors and authors also have a long history of interaction and collaboration, with regular formal and informal meetings, joint workshops and presentations, co-authorship, serving on thesis committees for or otherwise assisting each other’s students, and more. Many are members of the Creative Systemics Research Platform Institute (CSRP), as am I. CSRP has served as a virtual meeting space and intellectual clearing house for these discussions and others. From personal experience, while these collaborations have served to make each aware of the others’ work, and have in many cases broadened and deepened individual perspectives and background, each of the team retains a highly individual perception and articulation of intellectual issues, and a highly individual style of discourse and communication, as can be seen in the chapters of this book.
Overview
At the core of this book is the output of the IN4ACT research project funded by a Horizon 2020 grant from the European Union. The project was centered at Kauno Technologijos Universitetas (KTU), the Kaunas University of Technology School of Economics and Business, in Lithuania. On a four-year timeline from 2020, research was chartered to study the impacts of Industry 4.0, as the industrial sector in Europe was being redefined by the adoption of new digital technologies, new materials, and new processes. As Industry 5.0 became better defined, the researchers shifted to the broader scope of ecological sustainability, human centricity, and resilience to shocks after experiencing the COVID-19 pandemic. Nearing finalization of the study in 2023, the unanticipated rapid rise of Generative Artificial Intelligence raised new questions beyond the original charter of 2020.
In late spring 2023, the IN4ACT researchers convened an in-person symposium, inviting international scholars to broaden perspectives on unfolding events. An ambitious timetable to deliver manuscripts within the calendar year was set. A frame of immediacy compacted the views of (a) what we have learned, (b) what we know today, and (c) what we see on the imminent future. As the collective work began to take shape, the contributors expanded to cover three continents. Online instant messaging and email brought together converging and diverging perspectives.
Industrial and societal trends are being pushed toward concerns about sustainability, and human well-being. As the digitalization of Industry 4.0 has matured, the transitions toward sustainability, human-centricity, and resilience of Industry 5.0 continue to evolve. The meaning of human-centric was drawn into sharper focus with concerns on the potential benefits and misuses of Generative AI. The final positioning of this book grapples with the dilemma of the scholarly reporting on findings from four years of research, and well-informed insights into expectations for 2024.
About the Chapters and Their Crossovers
This series of chapters reflects a milestone for a multidisciplinary team of researchers with IN4ACT as the nexus. The knowledge accumulated spans years of interaction, both within the core team and across their extended networks. Those core relationships established a foundation for inviting like-minded contributors into a cohesive team of writers. Each chapter stands on its own, with autonomous author(s) coming from a variety of disciplines, cultures, and experiences. A common thread through the chapters is concern for human-centricity, as an industrial and societal transition unfolds. In the subtle distinctions made by each researcher, the astute reader may intuit entering a dialogue, as ongoing, and unfinished.
Chapter 1, written by a leading systems researcher, provides an historic and theoretical context on the development of technologies, from the first Industrial Revolution in the eighteenth century to the present day. The trail from invention of steam engines to Artificial Intelligence (AI) is not linear, but AI did not develop by accident, nor without precedent. Many of the cultural drivers of industry (efficiency and productivity) and of media (corporate-funded advertising and influence) continue to shape technologies and their applications. Whether the same drivers will continue to shape the technologies of the future is an open question.
Chapter 2 is coauthored by three of the lead researchers on the IN4ACT team. Drawing from findings and publications over four years of study, they offer views of iterations and layers of the transition from Industry 4.0 to 5.0. At varying scales, the benefits and impacts considered should include economic, environmental, technological, and social aspects. Applying a typology of discourses on Circular Economy, risks are surfaced on the possibilities of maintaining stability through socioeconomic and environmental transitions with human-centricity in the complex adaptive system. Two case studies of industry transitions in Europe are reviewed, as test beds of innovation.
Chapter 3 reflects the perspective of two researchers focused on organization development and performance management. The emphasis on human-centricity in Industry 5.0, at minimum, requires the development of hard skills, in applying the new technologies. Beyond this recognition of hard skills, the types of soft skills that would support successful transitions to Industry 5.0 are not yet well-understood. Both workers mature in their careers, and newly trained entrants into an industry face psychological challenges, business and managerial challenges, and structural challenges. Gaining a fuller appreciation of soft skills leads to questions on defining the term complexity in human organizations, transferability across contexts, and the evaluation of behaviors. Experiences teaching emotion regulation to lab scientists and economists provide insights into potential soft skills transition challenges with Industry 5.0.
Chapter 4 is contributed by a leader in the service science movement, a former research executive for IBM. While Industry 4.0 and 5.0 agendas have largely emphasized the production side of industry with manufacturers in Europe, the breadth of stakeholders is more widely surfaced. Service system entities, at multiple scales, are challenged to look beyond optimizing locally, toward investing in the global ecology of actors. Aims for AI upskilling to improve the productivity of business and nations raise concerns about the responsibility and awareness of actors in ethical use of the technology. Digital twins, as models that partially synchronize interactive capabilities, are better understood for machines than for people, organizations, and other service system actors. Service science is presented as an emerging transdiscipline in which the ecology of entities can be better appreciated,
Chapter 5 was authored by a sustainable economy researcher on the IN4ACT team, who completed his doctorate during the project. In the technological developments across Industry 4.0 to 5.0, the way in which job posting has changed reflects shifts toward human centricity for employees and businesses. The evolution in abilities of machines is characterized as (a) Artificial Narrow Intelligence, (b) Artificial Semi-General Intelligence (ASGI), and (c) Artificial General Intelligence (AGI). Beyond routine job automation, Industry 5.0 could see ASGI encroaching on fields with creative work. As a bold experiment, the Generative AI ChatGPT technology was applied to create the initial draft of the chapter. Scholarly citation of sources is not with the current capabilities of ChatGPT, so refinement by the author was still required.
Chapter 6 has been contributed by a digital technology executive exploring the combination of Human Intelligence and Artificial Intelligence. The aggregate is considered as a Hyper-Selfish Intelligence, where the drives of biological evolution could lead to Artificial General Intelligence producing a Super Intelligence. An argument is made for strong global regulation of AI to preclude human civilization from the most extreme risks. Industry 5.0 is seen as an opportunity to put social and technological development on a positive path.
Chapter 7 was written by a systems researcher with a prior career in consulting and market development at IBM. The labeling of 4.0 and 5.0 is reflected in a variety of generational shifts, including Schumpeterian innovation, the Japan Science and Technology Basic Plan, the EU Industrial Research and Innovation Commission, and the World Economic Forum. Version numbering is explicated to differentiate between incremental adaptations and generational shifts. The Age of Discovery circa 1492 Christopher
Columbus is portrayed in a transition from Era 0 to Era 1, with two synthetic perspectives of Socio-Technical Systems (STS) and Socio-Ecological Systems (SES). The current era is depicted as changes in SES as service economy alongside changes in STS as a knowledge society. The next era is described with changes in SES as a polycrisis ahead of changes in STS that would constitute a generational shift.
Reflections and Conclusions
While most book projects overlap stages and phases on timelines of years, this particular project faced the constraint of a 2023 funding deadline, compressing development into months. With that shortened horizon came the opportunity to bring the immediacy of the intriguing and influential public responses to the rapid rise of Generative AI in late 2022. These pressures of news headlines every day drove an accelerated timeline for slipstreaming considerations for AI into the book.
In effect, this writing team reflexively experienced the transition from Industry 4.0 to 5.0, in a microcosm. The mandate to create a book as a static artifact capturing the knowledge and experiences of the team ran counter to the give-and-take style of ongoing dialogue, via synchronous online meetings punctuated by drafts and revisions of collective learning. The team agreed to cast this project as a snapshot in time, as a milestone in 2023, comparable to a photograph in a hurricane. Recording the state of knowledge at a point in time was important, with a mindfulness that our dialogue has not ended. Hopefully, this book will serve as a foundation for many more discussions to come, about the state of societies in the midst of disruptive changes, and the possibilities for the decisions that we can make toward the better.
Author of the book overview
Thomas J. Marlowe is Professor Emeritus of Mathematics and Computer Science at Seton Hall, where he taught in both fields for over 40 years. He holds a Ph.D. from Rutgers University in each discipline. His research has covered areas including but not limited to coalgebras, programming languages and compiler optimizations, programming language aspects of real-time and embedded systems, software engineering and databases, computer science pedagogy including ethical considerations, and interdisciplinary studies.
Carnevale Pedemontese, Verscio 1900 - Foto n.i., Archivio Museo
Il Museo Centovalli e Pedemonte di Intragna, Canton Ticino (CH), custodisce una fotografia scattata nel 1900 in occasione del Carnevale del villaggio di Verscio. Questo è probabilmente uno dei documenti storici fotografici più antichi della storia dei carnevali ticinesi, una tradizione consolidata che vede più di 130 feste di carnevale organizzate nel cantone[1].
L’atmosfera che si percepisce in questa fotografia è molto differente da quella festosa mostrata dalle fotografie, anche antiche, di un tipico carnevale. Come vedremo illustrando gli elementi di questa fotografia, la sua atmosfera ci riporta alla componente sacrale legata alla divinità del carnevale-baccanale, ovvero gli dei dell’antichità romana e greca, Bacco e Dioniso.
Cratere attico a campana a figure rosse. Dioniso e baccanti. Pittore di Sisifo, 420-410 a.CDettaglio del figurante e il boccalino ticinese
Nella foto si nota subito che c’è un solo carro, e di dimensioni notevolissime. Un’enorme botte da vino orlata dall’edera, la pianta del dio Bacco e del Dio Dioniso, di cui spiegheremo il significato. Il figurante sulla botte è nella stessa posa di Dioniso nei vasi attici decorati, con il braccio alzato a sollevare il boccalino ticinese del vino, esso stesso così simile ai vasi da vino della grecità.
Bacco 1925, Biasca, Atte-Museo della Memoria
Un’altra foto altrettanto antica, del 1925, dal Carnevale di Biasca [2], dove il carro di Bacco era identificato da una semplice scritta “Bacco”, esibisce uno stridente contrasto con la monumentalità del carro di Verscio. Qui infatti il carro è semplicemente ornato con l’edera, la pianta sacra del Dio, e occupato da persone vestite con tuniche bianche in guisa di antichi romani, in linea con la tradizione di mascherarsi per il carnevale.
Nella foto di Verscio invece nessuno è vestito in maschera. Ma non solo. L’abbigliamento dei personaggi è l’opposto del disimpegno o del frivolo: si tratta di abiti eleganti e formali, in funzione del ceto sociale dei partecipanti. Si può individuare anche la presenza di cariche sociali più elevate della media, forse del paese, forse di altre provenienze. Tutti indossano formali cilindri o bombette, e anche i bambini sono vestiti con giacca, cravatta e coppole. Le forze dell’ordine in alta uniforme aprono la processione, e su di un lato si può osservare un gruppo di militari in divisa e con moschetti. Significativo che i personaggi siano tutti uomini e solo sul fondo, appoggiata al muro di una casa, si intravede una donna con un bambino in braccio, che è venuta con molta discrezione a sbirciare, appena fuori dall’uscio di casa.
Dettaglio foto carnevale pedemontese: abiti formaliDettaglio foto carnevale pedemontese: donna con bambino sul fondo, militari
Non una processione per chiunque, quindi, e con una serietà d’intenti che trapela da tutti i volti, serissimi e senza un sorriso. Non certamente l’aria di un allegro carnevale, e allo stesso tempo, una manifestazione di altissimo rispetto per il Dio che troneggia in processione. Un atteggiamento sacrale che evoca ciò che vogliamo ricordare e discutere in questo breve articolo: gli aspetti religiosi e psicologici connessi al Dio Bacco-Dioniso, aspetti facilmente trascurati nel tipico caos allegro del Carnevale moderno. Qualcosa che da questa foto di Verscio invece emana in modo potente.
Ma prima di approfondire questi aspetti del Dio Bacco-Dioniso, ci si potrebbe chiedere l’origine dell’anomalia che traspare da questa foto a Verscio, in contrasto con l’atmosfera allegra e disimpegnata tipica dei carnevali ticinesi.
L’autore, pur lasciando agli storici ticinesi il compito di studiare il contesto di quella foto, vuole sottolineare che il 1900 segna l’uscita da uno dei periodi più critici per la viticoltura svizzera. Nel 1875, attraverso Ginevra, arrivarono dall’estero le infestazioni di filossera americana e oidio che decimarono i vigneti di tutta la Svizzera [3]. La reazione delle autorità federali non si fece attendere, con l’istituzione di Scuole Agricole e stazioni federali di ricerca agronomica che portarono agli innesti di varietà resistenti con le varietà locali, all’istituzione di cooperative e in ultima analisi a una migliore organizzazione e possibilità del comparto.
È quindi suggestiva l’idea che quella seriosa processione del Dio Bacco-Dioniso in trionfo nella fotografia di Verscio del 1900 fosse in realtà una processione di stampo religioso di ringraziamento al Dio che ha salvato la viticultura ticinese e svizzera. In ogni caso, l’atmosfera di quella foto ci ricorda quanto fosse importante la figura del Dio nel contesto carnevalesco.
L’associazione del rito religioso al Dio, del resto, è quello che ha caratterizzato il culto di Dioniso nell’Antica Grecia e del suo equivalente Bacco nell’Antica Roma. Veri e propri culti misterici che avevano due manifestazioni, una privata ed esoterica e riservata a pochi, e una pubblica ed essoterica riservata a tutti. [4]
Dioniso, come altre divinità dell’antichità, era il Dio dell’Estasi.[5] La stessa etimologia del termine estasi inizia a spiegarci l’atteggiamento psichico correlato all’energia del Dio: Ek-stasis = Essere al di fuori di sè stessi. Ovvero, la presenza del Dio durante il suo culto induce uno stato che porta l’individuo al di fuori della propria individualità, per partecipare a uno stato transpersonale collettivo. Tale stato è detto Enthousiasmós = Essere ispirati dall’ En-Theòs = Il Dio Interiore.
Con questi elementi iniziamo a capire il perché al Dio è stato associato l’inebriante effetto alcolico del vino, che favorisce lo stato di entusiasmo collettivo e l’allontanamento dalla propria identità di tutti i giorni. I travestimenti, che inducono la trasformazione dell’identità del partecipante al rito, non fanno che accentuare e facilitare questo annullamento provvisorio della propria storia personale a favore del festeggiamento collettivo. Festeggiamento che quindi si tramuta in una sperimentazione del proprio Dio interno, Dioniso, che ora vive nella realtà attraverso il partecipante al rito.
Ma quale tipo di energia è l’energia dell’Estasi, l’energia del Dio Bacco-Dioniso? Qui viene in aiuto la simbologia segreta dietro gli attributi del Dio: l’edera. Essa rappresenta, attraverso un’immagine del tutto umile e naturale una potente forza della natura. L’edera continua a infestare ed emettere radici anche se prendiamo i suoi steli e li tagliamo a pezzettini. A ogni taglio nascerà una nuova pianta, e per questo, come è noto a chiunque possegga un giardino infestato dall’edera, è quasi impossibile liberarsene. Ma non solo: è sempre l’edera ad attaccare grossi alberi morenti al punto di tirarli giù verso il terreno e poter permettere la loro assimilazione da parte degli agenti di putrefazione nel terreno creando nuova fertilità e nuova vita.
L’edera è cioè il simbolo stesso di quello che i greci chiamavano ZOÉ, cioè l’archetipo della vita indistruttibile, quella vita che non è soggetta a morte perché si ricicla continuamente. E per i greci Dioniso era il portatore dell’archetipo ZOÉ, energia vitale pura, precedente anche alla vita biologica, che in ogni essere o in ogni pianta si estingue invece alla sua morte.
Ma anche la provenienza di questa energia vitale di base viene rappresentata dalla grecità in modo simbolico e appropriato: è l’energia della Grande Madre Natura, rappresentata dal terribile felino carnivoro giaguaro/leopardo.
Slide esplicativa di Massimo Izzo su raffigurazione presso Museo Archeologico Nazionale di Napoli, Inv. Nr. 6726, Corteo Bacchico con satiro e menade. Da Pompei, I° sec d.C.
Quando la rappresentazione è più esplicita, si vede il Dio Dioniso che domina il leopardo cavalcandolo o portandolo al guinzaglio. Il leopardo rappresenta fin dal Neolitico orientale del X° millennio a.C. l’enorme e pericolosa forza degli agenti naturali. Infatti va ricordato che così come l’energia della Grande Madre Natura permette la sopravvivenza del genere umano con i suoi regali, altrettanto non ha coscienza né preferenza di specie, risultando spesso mortale e pericolosa per gli umani. La figura del giaguaro, con la sua tecnica di agguato invisibile dall’alto dei rami degli alberi, ne rappresenta la sua pericolosa invisibilità, oltre alla sua selvatica potenza.
Dioniso, divinità della psiche umana, nell’atto di cavalcare il giaguaro, simboleggia il Dio che trae da questo enorme serbatoio di energia vitale, per darlo all’umano. Scendendo nei simboli e nei significati esoterici della grecità, si può capire quindi che l’estasi del rito festoso al Dio Dioniso è il momento in cui l’individuo, attivando il suo Dio interiore, si riempie di energia vitale, ZOÉ.
L’immagine qui riportata di Dioniso con il leopardo ci mostra il Dio accompagnato da un suonatore di flauto nudo e da una suonatrice di tamburello e danzatrice con la testa rivolta all’indietro, nella tipica posa di un essere in estasi. Siamo di fronte ad altri due elementi importanti dell’estasi dionisiaca: la musica, che le cronache latine ci riferiscono ipnoticamente ripetitiva, e la danza. Come l’ebbrezza del vino, anche la musica e la danza sono veicoli per gli stati di estasi; ora, lontani dal loro significato banalizzato di attività mondana, possiamo interpretarli come vie da accesso al sacro e alla rigenerazione delle energie dell’individuo.
La necessità di vivere periodicamente momenti in cui ci si possa abbandonare a stati di coscienza che ci portino fuori dal nostro usuale sé, non ha mai cessato di esistere, neanche quando le leggi, come il Senatus Consultum de Baccanalibus del 186 a.C, abbiano dichiarato illegale l’organizzazione del Baccanale. La paura di perdere il controllo di masse di persone in uno stato di coscienza non ordinario ha sempre fatto paura ai difensori dell’ordine. Il Dio Dioniso infatti, come tutte le divinità del Pantheon greco, ha i suoi lati oscuri, nell’eccesso, per esempio.
La festa dionisiaca era di conseguenza organizzata in posti segreti e molto isolati, consapevoli dell’eccezionalità del rito, della rottura delle convenzioni sociali usuali e della sua potenziale problematicità se non gestita. Non molto è cambiato oggi da quei tempi, quando a essere oggetto dell’attenzione delle forze dell’ordine sono spesso feste dionisiache altrettanto organizzate in segreto e basate su musica e danze ripetitive e inebrianti: i cosiddetti raves.[6]
Il moderno carnevale conserva quindi intatti alcuni elementi dell’antica festa dedicata al dio Dioniso, come la musica, la danza, l’uso di alcolici, il travestimento come metafora dell’uscire da sé, il sovvertimento dei ruoli sociali. Con la differenza che questi elementi vengono il più possibile resi innocui e depotenziati nella loro portata di momento di rottura. Ricordarsi che alla base del carnevale o feste simili c’è un’innata esigenza della psiche umana verso gli stati di estasi, e un elemento sacrale e religioso in quello che sembra superficialmente solo un momento di baldoria, ci aiuterà a capire una famosa frase di Gustave Flaubert: “Non c’è niente di serio in questo basso mondo che il ridere”.
[2] Il carnevale di Biasca realtà e tradizione 1984, (https://lanostrastoria.ch/entries/0OYn1RRmAbK)
[3] Laurent Flutsch/MI; Heidi Lüdi: “Viticoltura”, in: Dizionario storico della Svizzera (DSS), versione del 11.11.2014(traduzione dal tedesco). Online: https://hls-dhs-dss.ch/it/articles/013937/2014-11-11/, consultato il 08.02.2024.
[4] Károly Kerényi, Dioniso. Archetipo della vita indistruttibile, 1976
[5] Alain Danielou, Gods of Love and Ecstasy: The Traditions of Shiva and Dionysus, 1980
[6] Graham St. John (Ed.), Rave Culture and Religion, 2009
Breve Bio dell’autore Massimo Izzo
Nato a Napoli, 1961. Ingegnere, Egittologo ed Archeologo Orientalista, laureato nelle Università di Napoli e Pisa, ha fatto parte della Missione archeologica dell’Università di Pisa in Egitto a Dra abu El-Naga, tomba tebana TT14, presso Luxor, sotto la direzione della Prof.ssa Marilina Betrò. Dal 2005 si occupa di divulgazione storico-archeologica con articoli, corsi monografici e conferenze. Come ricercatore indipendente scrive e si interessa di interpretazione storica e antropologica tramite la psicologia del profondo junghiana e post-junghiana. Le civiltà e periodi storici di interesse prevalente sono l’Antico Egitto e Mesopotamia, il Neolitico Orientale e la storia Biblica.
Segue l’invito dell’artista Mahdi El Ghomri a diventare parte dell’opera!
124 anni dopo il carnevale di Verscio del 1900, il 18 Febbraio 2024 nella stessa piazza ricreiamo il corteo e la stessa inquadratura come da foto (questa volta però non solo maschi 👀) Poi scendiamo tutti insieme portando l’idolo nei vigneti di Agarta a continuare i festeggiamenti con musica e buon vino. Mi spiego: Nel Museo etnografico delle Centovalli e Pedemonte si può vedere la testimonianza di un carnevale a Verscio datato 1900. Nella foto il corteo di cittadini in abiti da festa segue un carro con sopra una rappresentazione di Bacco. Agli abitanti delle Terre di Pedemonte di uno due secoli fa era quindi chiaro il legame del carnevale con la tradizione pagana pre-cristiana, si può ipotizzare quasi un onda romantica – post illuminista. Bacco (o Dioniso per i greci) è un Dio ibrido dalla multiforme natura maschile e femminile, animalesca e divina, tragica e comica. Incarna nella sua ebbrezza l’istinto primordiale presente in ogni essere vivente; istinto che permane nell’uomo “civilizzato” e non espresso correttamente può sfociare in violenza. E proprio per quest’ultimo motivo la questione diventa rilevante per la nostra società. La cultura della violenza, la demonizzazione della follia e la paura del caos sono così fortemente radicate dentro ognun* di noi. Per questo quell* di noi che hanno il privilegio di vivere in un tempo storico di pace, non possono ignorare l’urgenza di riprogettare la propria vita e la propria comunità includendo la libido ed il piacere tra i valori fondamentali regolatori. Senza questa base non si può imparare il rispetto. Perché celebrare il piacere dell’ebrezza vuol dire celebrare una parte fondamentale di noi stess*. Vuol dire imparare ad avere rispetto. E pensate che questa è solo una delle innumerevoli sfumature dell’archetipo del dio loco.
Il progetto è interamente creato in collaborazione con Jelena Sucic e il CSRP Institute grazie all’amorevole ospitalità dell’azienda agricola bio Agarta di Cavigliano e grazie anche all’aiuto di chiunque voglia partecipare 👇 perchè grazie all’indispensabile contributo del CSRP si sta facendo una campagna di crowdfunding – per cui se vuoi aiutare a realizzare questo sogno questo è il link https://www.lokalhelden.ch/it/bacco-a… C’è del buonissimo vino della fattoria Agarta in palio per chi ci sostiene. La stessa fattoria dove si svolgerà l’after party del Carnevale per intenderci Canton Ticino”
It follows the invitation of the artist Mahdi El Ghomri to become part of the artwork!
124 years after the Verscio carnival of 1900, on Feb. 18, 2024 in the same square we recreate the procession and the same framing as in the photo (this time, however, not only males 👀) Then we all go down together taking the idol to the vineyards of Agarta to continue the festivities with music and good wine. Let me explain: In the Ethnographic Museum of the Centovalli and Pedemonte you can see evidence of a carnival in Verscio dated 1900. In the photo, the procession of citizens in festive dress follows a float with a representation of Bacchus on it. To the inhabitants of the Terre di Pedemonte one two centuries ago, the carnival’s connection to the pre-Christian pagan tradition was thus clear, one can almost assume a romantic-post-Enlightenment wave. Bacchus (or Dionysus for the Greeks) is a hybrid god with a multifaceted nature-masculine and feminine, animalistic and divine, tragic and comic. He embodies in his intoxication the primordial instinct present in every living being; an instinct that lingers in “civilized” man and not properly expressed can result in violence. And for this very last reason, the issue becomes relevant to our society. The culture of violence, the demonization of madness and the fear of chaos are so strongly rooted within each* of us. Therefore, those* of us who are privileged to live in a historical time of peace cannot ignore the urgency of redesigning our lives and communities by including libido and pleasure among the regulating core values. Without this foundation, respect cannot be learned. Because celebrating the pleasure of drunkenness means celebrating a fundamental part of ourselves*. It means learning to have respect. And just think that this is just one of the countless shades of the archetypal loco god.
The project is entirely created in collaboration with Jelena Sucic and the CSRP Institute thanks to the loving hospitality of the Agarta organic farm in Cavigliano and also thanks to the help of anyone who wants to participate 👇 because thanks to the indispensable contribution of the CSRP a crowdfunding campaign is being done – so if you want to help make this dream come true this is the link https://www.lokalhelden.ch/it/bacco-a… There is some great wine from Agarta Farm up for grabs for those who support us. The same farm where the Carnival after party will be held to mean Canton Ticino.”
David Ing and Gary S. Metcalf, “Reframing Systems Thinking for Systems Changes: Sciencing and Philosophizing from Pragmatism towards Processes as Rhythms.” Journal of the International Society for the Systems Sciences 67: 4154. https://journals.isss.org/index.php/jisss/article/view/4154.
Abstract
Systems thinking rose in 20th century industrial society largely from post-WWII research. Psychologists Eric L. Trist and Fred E. Emery were early in human relations, later turning towards sociology. Philosophers C. West Churchman and Russell L. Ackoff were cofounders of Operations Research, applying pragmatism to problem-solving of complex issues. The texture of Socio-Technical Systems (STS) and Socio-Ecological Systems (SES) perspectives interweaves with management science and inquiring systems.
In the 21st century, the Service Economy and Ecological Anthropocene followed advancement of the Internet and globalization through the 1990s. Resurfacing Trist-Emery and Churchman-Ackoff for a new generation not only revisits their sciencing, but also philosophizing.
Trist-Emery Socio-Psychological Systems (SPS) and STS perspectives extended the structuralist psychology of Gestalt, through Andras Angyal and Kurt Lewin. The SES perspective built on the pragmatist metaphilosophy of Stephen C. Pepper. Sciencing by Churchman-Ackoff encouraged Operations Research beyond mathematics towards collaborative decision-making. Postwar applied philosophizing built on the experimentalism of Edgar A. Singer Jr. This lineage traces from the Metaphysical Club circa 1890, through the 1980s.
Philosophizing in the 21st century provides new lenses for the systems sciences. Through ecological anthropology, Tim Ingold depicts the lives of lines, and texture in weaving. Through Classical Chinese Medicine, Keekok Lee distinguishes yin qi and yang qi. In post-colonial constructionist program of Rethinking Systems Thinking, principal concepts of (i) rhythm, (ii) texture, and (ii) propensity have become the core of Systems Changes Learning practices, theory, and methods. A new world hypothesis of (con)textural-dyadicism is proposed, combining STS and SES features. The associated systems theory foregrounds time-space changes over the defining of space-time systems and boundaries. Philosophizing across Western and Classical Chinese traditions requires deeper inquiry and education.
Keywords: Systems change, philosophy of science, pragmatism, Chinese philosophy, socio-technical, socio-ecological
Presented on Oct. 14 in Pre-Release online Panel Innovation: Entanglements of Interest during Relating Systems Thinking and Design (RSD12) Symposium | October 6-20, 2023
THE HERE AND NOW – The Process of Building the Discussion Around the Perceivable Misalignments Between Technology and Society in the Industry 5.0 Era
Jelena Sucic, Susu Nousala, David Ing, Gary Metcalf
Abstract
This presentation focuses on a “moment in time,” at the end of a four-year research process to study Industry 5.0. The research had been funded through an EU Horizon 2020 grant, to the IN4ACT team at Kaunas University of Technology, and the results were to be incorporated into a book describing what was learned. During an intensive five-day workshop with the IN4ACT team, a number of challenges became clear. First, even the definition of Industry 5.0 had evolved during the time of the research. Definitions ranged from mitigating the negative effects of technology on people to implications for global sustainability. Second, the technologies had evolved rapidly during the time of the investigation, most particularly aspects of artificial intelligence and machine learning, including Large Language Models. During the research project, the team had to work through and crystallize the dynamics and range of views covering capabilities of automation, robotics, Internet of Things (IoT), manufacturing to AI-driven technologies driving the techno-economic yielding, contrasting the impacts of ecosystems and landscapes of the human-centric approaches. Ultimately, the research created a snapshot (a momentary view) of a human-centric response to technological development which appears, at times, to be beyond current regulation or control. This presentation summarizes the lessons learned from the research, including the need to address the ethical and social implications of AI and other currently developing technologies.
KEYWORDS: Industry 4.0, Industry 5.0, Digital industrial transformation, Sustainable technology governance, Ecosystems, Circular economy, Society 5.0, artificial intelligence, GPT.
We are happy to present the Call and Agenda of our 3nd Symposium! This year, the modality is a open discussion about the topic. We will be connecting from Kaunas, KTU, Lithuania, on the 9th and 10th October 2023!
The call is open to all! You are welcome to join and contribute to the discussion process.
Contact us to receive the access link for the discussion
The theme of the 2023 Symposium Discussions – The impacts of Digital industrial transformations
This year we have a particular approach and task. We have many members involved with the development of a book, which is part of the EU horizon funding. So it seemed logical to invite authors along to discuss their chapters, including concurrent areas of interest, such as the collaboration process and the like.
The Book Proposal Summary:
The digital industrial transformation was successful in delivering technical product delivery-based objectives. Industry 5.0 was intended to address the socio-environmental imbalances, but has not been able to stem the increasingly rapid pace of technological advancement. In the current state, Industry 5.0 policy is not providing the necessary guidance, leaving an unintended misalignment between technology and society. This book foreshadows the needed changes in order to fulfill Industry 5.0 promises. This book is the outcome of four years of exploratory research by an EU Horizon 2020 funded team, and other industry experts, on the impact of digitalization on management and economics. It provides a systemic perspective of Industry 5.0, giving insights into the anticipated changes in industrial dynamics and relevant policies.
Symposium Agenda (EEST Time)
October 9th
10.00 Coffee&Chat moment in presence and online (catch up moment)
10.30 Welcome and Introduction
10.45 Theme kick off discussion
Lead speakers:
Rohan Fernando (Australia online)
Manuel Morales (local)
Morteza Ghobakhloo (local)
13.30 Lunch break
15.00 afternoon theme discussion
Lead speakers:
Jim Spohrer (US online)
Thomas Marlowe (NY online)
Gary Metcalf (US online)
18.00 End discussion session
19.00 Dinner
October 10th
11.00 Extension Discussion Time
Summary and closing comments for CSRP Institute Symposium
The Special Issue announced in the past years is published and public! The project was carried out by our CSRP Editorial Team: Marie Davidová, Susu Nousala and Thomas J. Marlowe. The contributing Authors are David Ing, Yannis Zavoleas, Xiao (Bella) Hu, Magda Sibley and Ana Zimbarg. The process was warmly supported by Dr Nagib Callaos and Jelena Sucic.
Follows the abstract of the editorial introduction and the full document with the links to the papers.
Abstract: Sustainability as related to the environment is now just over 50 years old. In that time, especially in regard to human artifacts such as architecture, it has largely focused on human priorities, and how they need to be modified to address or rectify environmental and ecological challenges. A new, post-anthropocene view suggests that it is also important to consider the environment as more than a backdrop whose state and appearance must be maintained, but rather as an actor in its own right, with its own interests, including the interests of the living non-human actors in the local ecology. This special issue seeks to explore this wider notion, and the editors view our introduction as an opportunity to present the journal theme, to introduce the authors and place its papers in context, and to welcome researchers and practitioners to explore this topic further.
