synchronized. In practice, there is period of relaxation that is proper to the technical
object, which should be respected.
This issue of tempo is generally adapted in improvisation phases. Weick [53],
drawing on the work of Berliner [54] and his study Thinking in Jazz: The Infinite
Art of Improvisation, argues that at the organizational level improvisation involves
reworking pre-composed material and considering it in relation to unanticipated
concepts that are designed, formed and transformed under specific performance
conditions. Jazz is not spontaneous, intuitive music but flows from the experience
of ‘musician/actors’ and the disciplined application of a vast musical knowledge.
This analysis can be expressed in the context of the improvisation of actors
involved an extreme situation, who must rely on a repertoire of training resources,
experience and a shared vision [55].
A dual temporality must be also managed [56]. The first requires a short-term
response that should not limit the adaptability of the system in the long term. The
second involves establishing a balance between the need for resources to be
mobilized in the very short term and other resources that need to be saved for the
long term [32].
Finally, time cannot be discussed without the notion of duration [57]. Bergson
opposes the idea of the duration of consciousness and scientific time (defined in
terms of measurable periods). Instead, time is the measurement of repetition in
space. It is thus a way to reduce an evolutionary phenomenon to spatial coordinates.
“Pure duration” is unconstrained thought in the timeline of the same evolutionary
phenomenon. It implies something that ensures continuity between successive
states. According to Bergson this is the consciousness of the observer, which he
calls “intuition”, because it is not perceived through a projection of the evolution of
the system described in spatial terms, but by a thought that is inseparable from its
object.
5 Entry into Resilience and Space
The idea of space, inseparable from that of time, is classically considered in the
broad and Cartesian sense that defines it as a “scope, a medium in which the
observed phenomena occur or abstractions are the object of study” [58].
The viability of a technical object is intimately linked to its “associated milieu”
[59] or even a “mixed milieu, both technical and geographical” [52]. The severity of
this local challenge was severely underestimated in the spatial management of the
Fukushima Daiichi accident. It has even been argued that in general, the remote
interaction between the various organizations that should have been responsible
made it “pitiful” [60]. An example is the relationship between Yoshida (who
considered senior managers to be disconnected from reality) and TEPCO headquarters—when his request for 4,000 tons of water was understood by management
as 4000 tons of drinking water [61]. Frustrated, the plant’s director gave greater
weight to the local situation, to the extent that he decided to ignore certain orders
8
F. Guarnieri
object, which should be respected.
This issue of tempo is generally adapted in improvisation phases. Weick [53],
drawing on the work of Berliner [54] and his study Thinking in Jazz: The Infinite
Art of Improvisation, argues that at the organizational level improvisation involves
reworking pre-composed material and considering it in relation to unanticipated
concepts that are designed, formed and transformed under specific performance
conditions. Jazz is not spontaneous, intuitive music but flows from the experience
of ‘musician/actors’ and the disciplined application of a vast musical knowledge.
This analysis can be expressed in the context of the improvisation of actors
involved an extreme situation, who must rely on a repertoire of training resources,
experience and a shared vision [55].
A dual temporality must be also managed [56]. The first requires a short-term
response that should not limit the adaptability of the system in the long term. The
second involves establishing a balance between the need for resources to be
mobilized in the very short term and other resources that need to be saved for the
long term [32].
Finally, time cannot be discussed without the notion of duration [57]. Bergson
opposes the idea of the duration of consciousness and scientific time (defined in
terms of measurable periods). Instead, time is the measurement of repetition in
space. It is thus a way to reduce an evolutionary phenomenon to spatial coordinates.
“Pure duration” is unconstrained thought in the timeline of the same evolutionary
phenomenon. It implies something that ensures continuity between successive
states. According to Bergson this is the consciousness of the observer, which he
calls “intuition”, because it is not perceived through a projection of the evolution of
the system described in spatial terms, but by a thought that is inseparable from its
object.
5 Entry into Resilience and Space
The idea of space, inseparable from that of time, is classically considered in the
broad and Cartesian sense that defines it as a “scope, a medium in which the
observed phenomena occur or abstractions are the object of study” [58].
The viability of a technical object is intimately linked to its “associated milieu”
[59] or even a “mixed milieu, both technical and geographical” [52]. The severity of
this local challenge was severely underestimated in the spatial management of the
Fukushima Daiichi accident. It has even been argued that in general, the remote
interaction between the various organizations that should have been responsible
made it “pitiful” [60]. An example is the relationship between Yoshida (who
considered senior managers to be disconnected from reality) and TEPCO headquarters—when his request for 4,000 tons of water was understood by management
as 4000 tons of drinking water [61]. Frustrated, the plant’s director gave greater
weight to the local situation, to the extent that he decided to ignore certain orders
8
F. Guarnieri