Interprofessional working & learning: sharing objects, practices & reasons

1. Interprofessional working & learning: sharing objects, practices & reasons Institute of Education, University of London Dr David Guile ,

2. Aim To: • identify why interprofessional working & learning has become a topic of interest • offer CHAT conception of interprofessional working • identify the implications of interprofessional working for education & workplaces

3. Emergence of interprofessional working & learning: perspective from social theory Bauman (1987) unravelling of modernity has: • undermined epistemological certainty associated with science As a consequence • undermined the foundations of professions With the result that • professionals no longer able to lay claim to authority by dint of ‘knowledge base’ Professionals increasingly have to: • justify their position by explaining why their knowledge is valuable to: (I) other professionals & (ii) layity

4. Emergence of interprofessional working & learning: perspective from sociology of work Three developments created conditions for interprofessional working to become a norm rather than exceptional feature of work. They are shift from • ‘mass production’ to ‘co-configuration’ (Victor & Boynton) • insular corporations to strategic ventures & partnering (Ghoshal & Bartlett) • Functional differentiation to ‘complexification’ (Hage & Powers)

5. Interprofessional working & learning (IPWL) Conditions for IPWL created by changes in: • organisation of work & undermining of professionals’ sense of epistemological certainty First site of development: • private sector First manifestations of this development: • ‘cross-functional’ teams etc Latter manifestations • ‘joined-up’ government

6. Interprofessional working & learning: lessons from Creative & Cultural (C&C) Sector C&C sector consists of: • fifteen industries: Crafts, Design, Fashion, Film, Music, Performing Arts, Publishing, Research and Development, Software, Toys, TV and Radio and Video Games Characterised by: • small number of global conglomerates, large number of SMEs, freelance work; preponderance of External Labour Markets, rather than Firm-Specific Labour Markets • entrepreneurial autonomy, creative choice, transactional freedom • interprofessional partnerships that form for the life of a project Conclusion:paradigmatic example of IPWL

7. IPW: CHAT perspective 1. Concepts of .... enable us to identify.... ‘Object of activity’ (Leont’ev) • what is purpose of IPW Moebius-strip activity (Guile) • what are sources of funding for new object • how have they been achieved ‘Co-configuration’ (Engestrom after Victor& Boynton) • what modes of expertise involved in creating new object ‘

8. IPW: CHAT perspective 2. Concepts of .... enable us to identify.... ‘Formulation’ of object (Nardi) • who contributed to defining purpose of object • what expert/lay practices do they contribute ‘Instantiation’ of object (Nardi) • who is responsibly, & in what combinations, for realising the new object • how are practices deployed ‘Space of reasons’ (Guile after McDowell) • what is the basis of comprehending other’ suggestions, judgements & actions ‘Giving & asking for reasons” (Guile after Brandom) • what are pedagogic practices that facilitate IPW thinking, commujnicating & acting

9. What is distinctive about work in the creative industries 4. ? M-SEs involved with object creation • ‘twisting and turning’ expertise to: co-ordinate project network whose members have not previously worked together support network members to mediate between different modes of ‘epistemic expertise’ to create a new object

10. Concept of moebius strip enterprises & expertise (M-SEE)

11. CHAT and M-SE Concept of ‘object of activity’ used to: capture continuity between SMEs’ preferred way of working AND commission undertaken to realise their OoA distinguish work that M_Ses &networks do to: • ‘formulate’ (i.e. figure out) and ‘instantiate’ (i.e. realise) the object Creation of new product and /or service implies that OoA is literally formulated and instantiated afresh. Not quite the case: tenders’ goals vary enormously and their end points are open, yet, also subordinate to the wider context of the creative industry Helpful to use: • concept of project-object’ (Hyssalo 2005) to theorise tension between continuity of activity and creativity within that activity

12. CHAT & M-SE Concepts of mediation in conjunction with the ‘space of reasons’ (Guile, after McDowell) used to shed light on: • infer what follows from members of project networks concepts, judgements, practices and preferences; • infer its implications for their understanding/ aspirations of the PO • support formulation and instantiation of PO

13. An M-SE in action: Renn & Thacker Two main domains of public art activity: • sculpture in bronze, steel, copper, fibre-optics, terracotta, film and video • arts project planning, management and consultancy services Unifying link between them a focus on the site: ‘With this approach and through collaboration, we strive to expand the limits of possibility. You could say that we specialize in not specializing’ Challenge win tenders & co-ordinate activity of ‘experts’ and ‘lay’ folk

14. Example of tender specification Create a public sculpture that celebrates Stourbridge’s glass industry by conveying • sense of ownership/pride/achievement in local economy; • landmark to announce Stourbridge; • gateway to establish the new park and ride; • awareness of public transport. By involving the following: Centro - Project Managers, Halcro - Structural Engineers, Mark Worral Associates - Architects, Wrekin Construction, Landscape Engineers,Tudor Crystal, Glass Company, Red House, Glass Cone Museum, Broad House Museum, representatives from local glass industry and community and Form Fabrications, Manufacturer in its formulation and instantiation

16. Realising Clink (PO) 1. Support project network to: • develop fuller sense of PO • mediate between modes of epistemic expertise by locating them in the space of reasons • infer what follows from suggestions • Mediate between competing suggestions By organising a mix of network meetings to ‘brainstorm’ ideas & ‘snowball’ ideas to: • voice aesthetic/technical and communitarian interests

17. Creating Clink (PO) 2. Incorporate/take account of aesthetic, technical and communitarian issues to: • refine and represent ideas for design of PO Explore implications of new design of PO with: • network partners and resolve conflicts of interest Arrange for fabrication/installation/celebration of - Clink

18. Conclusions: concept of M-SE Conceptualisation of typical pattern of SME activity in ‘temporary project’ C&C economy. SMEs (i.e. Renn and Thacker) have to: • twist and turn expertise to commission’s needs • use traditional pedagogies - brainstorming / snowballing in new ways to support formulation and instantiation of POs SMEs develop this capability and capacity through: • work-based learning Challenge - how to understand & support diverse manifestations of moebius strip activity

19. Conclusions: CHAT/SS/M-SE Extends Knorr Cetina’s argument about the transition to a knowledge society: • epistemic cultures spilling over into heterogeneous activities (leave cognitive trails, not necessarily well-defined cultures) Use concept of space of reasons to support work of Miettinen and Hyysalo to explore the relation between: • objects and epistemic expertise