This paper examines the generative interplay between learning and playing in managing and organizing by taking a performative approach that theorizes learning/playing as an assemblage in which playing and learning emerge as co-evolving processes in practice. Addressing the methodological challenges associated with this performative approach, the learning/playing assemblage is probed using travelling concepts, which attend to the dynamic movements rather than the stabilities of organizing, functioning as proposed by Vygotsky as both a research tool and an emergent result of research. This notion of 'travelling concepts' is developed empirically by engaging with Mead's 'sociality', which he defined as the simultaneous experience of being several things at once. Three interweaving strands of sociality-relational, spatial, and temporal-are elaborated in the context of travelling with and through four artisan food production sites, each of which sought to engage differently with the aesthetics and functionality of the food we consume.
Finding conditions that are conducive to creative practice is a perennial concern in today’s accelerating world, but temporal theories that might shed light onto this problematic still lag behind the day-to-day practicalities of actually doing creative work. This chapter shows that clock time, with its realist focus on the ordered succession of past, present, and future, is inadequate as a basis for understanding the ways in which creative practice is temporally resourced. Drawing on the idealist philosophies of Bergson, Heidegger, and Mead, an alternative becoming temporality characterized by the timefulness of interpenetrating pasts and futures is elaborated. Rather than simply protecting pockets of time for innovation, timefulness evokes mindfulness, carefulness, and playfulness as actions to be nurtured if creativity is to flourish.
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