Art of Hosting

What would it mean today to speak of a critical gastronomy in the terms of design? Martí Guixé's exploration of the nexus between food and design is the focus of this essay, which appeared in the book dedicated to the Catalan designer, published by Corraini in 2010. Going back to the historical case of Grimod de la Reynière, the essay presents the motif of the host as a guiding point of reference for much of Guixé's work in critical food design.

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Recent science studies literature has emphasised that knowledge is generated in transit and through encounters. If this is true, knowledge production will depend on forms and dynamics of hosting and hospitality. Conversely, inhospitable environments prevent encounters and decrease possibilities for the building of knowledge. Using results from a research project on Carl Linnaeus’s Laplandic Journey (Iter lapponicum, 1732), we address the relationship between frameworks of hospitability and knowledge construction. Lapland, or Sápmi, was in the process of being colonized by the emerging Swedish nation state when Linnaeus travelled. While in later reports Linnaeus created an image of Sápmi as uninhabited and uncultivated, waiting to be explored and exploited, his journal of the journey documents numerous encounters with state and church officials as well as reindeer herders, fishermen, settler farmers, and women with medicinal knowledge, many of whom were Sámi, on whose expertise, guidance and hospitality he depended.

My thoughts on the state of the world in this thesis are based on my three years of coursework and fellowships on the topics of Sustainability, Alternative (Hi)stories, and Localization, in addition to my observations as a graduate student of the social, environmental, political, and economic conditions of production during my visits to Portland, Oregon; Oaxaca, México; Fukushima, Japan; Tanzania; and Dow Chemical Headquarters. These experiences have been moulded by my interactions with such thinkers as Bunker Roy, Ron Broglio, and Tom Seeley, and artists such as Lee Mingwei, Ben Kinmont, Steve Lambert, Oron Catts, and Amy Youngs. These observations and encounters have been tempered by years of reading the works of authors that range from Henry Thoreau and Peter Kropotkin, to David Harvey, Rob Nixon, and Masanobu Fukuoka. I have, whenever possible, tried to remain intellectually omnivorous in an attempt to digest the breadth of work that attempts to confront the meaning of humanity in an age of self-aware, self-inflicted annihilation. I have been careful to meld both data and empiricism, which in aggregate serve as a foundation on which I understand and address the world as an artist, activist, and craftsperson. At times my thesis will be fortified by data, but will most often be based in an empiricism of the spirit. I do not claim to be right. I don’t know that I believe in singular answers any more. An array of responses, made with positive intentions and strong insight, seems to be the only approach to the impending “century of crises” and what I describe as the “great transition.” However, as I intend to demonstrate, my work seeks to occupy a hybrid practice, one that reconsiders Joseph Beuys’ notion of Social Sculpture and his famous maxim “everyone is an artist,” and reframes it through the writings of Lucy Lippard, Howard Risatti, Octavio Paz, and Chögyam Trungpa into a theory of “Social Craft.” It is my position that everyone is a craftsperson, each of us endowed with the capacities to mindfully transform society in preparation for the Great Transition. Furthermore, I look to honeybee society as a model for social transformation. I contend, as others such as Kropotkin have, that the honeybee exhibits a profound model when considering methods of social change. Therefore, it is my intention in this thesis to demonstrate what a Social Craft practice could be, with the hope that others will realize their own capacities to positively participate in the great transition.

Deliberation is increasingly embraced as a mode of policy-making, and this paper focuses on how facilitators of deliberative policy processes become critical, pragmatic practitioners of their complex craft. We analyze how deliberation facilitators learn to do their work through ethnographic study of an approach to facilitation known as the Art of Hosting and Harvesting Conversations that Matter. We identify three ways in which they transform knowledge to host: by metabolizing hosting techniques to understand and incorporate or eschew them their repertoire; by situating hosting knowledge to apply or adapt it in particular contexts; and by co-producing knowledge of hosting with a community of practitioners. We demonstrate how these learning processes support public policy deliberations through illustrations and discuss the potential contributions of learning the Art of Hosting for enhancing societal capacities for deliberative policy-making.

We introduce the concept of deliberative technology as an integrative framework to encapsulate how facilitators and participants bring different resources into use in deliberative processes. It serves as a holistic lens to observe, explain, and intervene constructively in the unpredictable, emergent dynamics of deliberative processes. We developed the concept of deliberative technology inductively through ethnographic analysis of three deliberative processes. In the three cases, the deliberative processes and their results were quite different, despite common resources, policy contexts, and purposes. We articulate a typology of general types of potential resources for deliberation – methodological techniques, material objects, and conceptual frameworks – and show how they interact with the policy context and the dynamics of the facilitators and participants to produce the deliberative technologies of the three cases.

Keywords: Deliberative technology; Deliberative methods; Designing deliberative processes; Resources for deliberation; Co-production; Ethnographic research

Si l’innovation est un thème connu, elle est aujourd’hui devenue un véritable enjeu de société. Depuis une dizaine années, la valeur des connaissances et de la créativité au sein des économies capitalistes a augmenté, faisant de la capacité à se renouveler individuellement et collectivement une priorité. Le vieillissement de la population ainsi que les turbulences du monde marchand mondialisé permettent d’anticiper que les capacités d’innovation de nos organisations sont en train de devenir un véritable enjeu de société. La pression se fait directement sentir sur les personnes. S’ajoutant aux prises de retraite massives, les délocalisations, les décisions d’attrition et l’augmentation du taux de burn out associés au travail fragilisent les capacités de mobilisation collective alors que monte l’indignation. Ces réalités déshumanisantes provoquent une souffrance qui se traduit, entre autres, par la perte de confiance aux autres et en soi, la disparition des solidarités, la perte de sens, le cynisme et le désengagement. Le savoir se fragmente et disparaît avec les humains qui quittent les organisations alors qu’une volonté de participation citoyenne sur des bases éthiques saines et durables prend forme dans la société. Cette volonté d’action entraîne un mouvement de réappropriation et de reconstruction de soi, de la relation à l’autre et du social, ceci par l’action locale, au sein d’organismes communautaires ou par la création spontanée de communautés de défense et de promotion de causes sociales dont le mode de gouvernance se veut démocratique et l’activisme responsable et durable. Plus largement située en anglophonie, cette mobilisation, qui puise aux sources de la complexité, constitue en soi une innovation sociale par sa remise en cause des modes de gouvernance, par ses pratiques de création et de partage de connaissances et par ses ancrages humanistes. Le mouvement considéré ici développe les bases de la mobilisation, de l’animation du dialogue social et de la diffusion des connaissances. Nommé The Art of Hosting and Harvesting (AoH), il sert de creuset à un ensemble de pratiques issues d’une épistémologie de la complexité. Ses membres forment des animateurs intervenants à œuvrer dans cette perspective. Créant de nouvelles pratiques durables et les mettant au service de causes sociales, AoH contribue à l’innovation sociale. Vu sous l’angle de la participation de ce mouvement à la reconstruction d’un tissu social en effritement, l’étude des formes de ce mouvement est d’un intérêt certain pour l’intervenant social qui peut y puiser une inspiration en matière de modalités d’accompagnement du changement émergent, via ses processus créatifs d’animation, de création et de partage de connaissances issues du dialogue démocratique. Le changement dont il est question, souvent qualifié de « courbe en U » traduit un changement d’ordre transformationnel, ici exploré par le biais de la recherche action participative, où le chercheur intervenant est animateur, formateur et accompagnateur de la réflexion collective. La présente communication aborde ce processus complexe par la présentation de trois cas - interventions à partir desquelles un ensemble de constats et de résultats initiaux de recherche permettent d’étudier cette nouvelle forme d’innovation. Les enjeux actuels qui motivent l’émergence du mouvement sont d’abord présentés, suivis des ancrages et des fondements qui sous-tendent les trois cas. Les caractéristiques de ce qui constitue les trois modèles d’intervention sont mises en relief et différentes pratiques sont présentées. Considéré comme phénomène complexe, le changement est abordé du point de vue de l’intervenant et des pratiques. La focale se déplace donc ici vers un espace alternatif, fondamentalement positif, centré sur l’émergence, donc sur ce que l’énergie, la volonté, l’émotion et la créativité d’un groupe ou d’une communauté peuvent accomplir pour favoriser l’intelligence collective.

The State of Jammu and Kashmir (J&K) is one of the most beautiful and abundantly endowed places on earth. The people of J&K are extremely gracious, compassionate, hospitable and loving. They are also intrinsically peace-loving and non-violent. Despite the recent troubles, most people yearn for peace and prosperity. There is a deep yearning for reclaiming the values of Kashmiriyat / Humanism for restoring the state to its pristine glory.
The glory of Jammu and Kashmir is currently overshadowed. To use a metaphor, we visualize all the qualities that Jammu and Kashmir stands for as the sun. Currently, this sun of ease, grace, abundance and immense natural beauty has been overshadowed by the clouds of corruption, apathy, depression, drug addiction and a widespread feeling of helplessness and hopelessness amongst the adult population.

This paper points out to the roots of the problem and suggests a way forward for healing the state. This is  based on reclaiming the Spiritual and Humanistic Heritage of the people of the state, and also action steps based on creating safe spaces for the emergence of  people led initiatives for change.

Journalists are increasingly invited to engage in dialogic innovation processes not only to report on innovations but also take part in identifying social problems and co-creating possible solutions. We analyze a series of multi-stakeholder innovation workshops at the health care social enterprise group Helsinki Deaconess Institute in Finland from 2012 to 2014 and the mediated results of the workshops. Journalists were part of all three stages in the innovation process: the creation of a holding space for innovation, creating concrete innovations, and communicating the outcomes at the level of mass communication. We suggest the model of participatory solutions journalism that could, in part, help open the gridlock journalism faces with corroding legitimacy from the outside and resistance to innovation from the inside. Our study builds on previous research suggesting that journalism should be seen as the “fourth strand” of the innovation ecosystem elements alongside the industry, the academia, and the government (Carayannis and Campell 2012; Bast et al. 2015). We add to this literature the finding that such a co-creating role can be supported by dialogic organizational development methods (Scharmer and Kaufer 2013; Bohm et al. 1991; Bohm 1996; Senge 1990). The pitfall of participatory solutions journalism includes the possible corrosion of journalistic impartiality.

This is an essay about teaching and experimenting with an "Art of Hosting" stance as the instructor in the classroom setting. It is specifically about teaching civic engagement practices and processes in an immersive, experiential setting, but it is also applicable to other teaching environments. Being introduced to the Art of Hosting fundamentally changed how I teach in ways that I can clearly discern. Being introduced to hosting has enhanced how I prepare my students to practice engagement, facilitation, and hosting. But it also helps me reflect on and advance not only my practice as a host, but also my practice as a teacher. The two are closely intertwined; I now regard the classroom as a hosting environment and have reoriented my role to being a host of professional learning.

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