Her "co-evolutionary" view dovetails with the article on comics and co-evolution posted earlier.
Viewed in the light of contemporary knowledges and material realities, social construction is looking rather outdated. To borrow the vocabulary I learned from Meredith Jones' dissections of makeover culture (Skintight, ‘Mutton'), social construction has come to resemble a 1970s celebrity who is not ‘ageing well': she's become a repetitive and unconvincing grumpy old woman who arguably needs a conceptual makeover to stay attractive and relevant. Can she once again inspire re-constructions of people, languages, practices and worlds? It is possible for her to enjoy what Jones calls a ‘stretched middle age' and be re-capacitated as an ally for twenty-first century movements and policies supporting sustainability and diversity in both nature and society? I am not entirely sure. . . .
From understanding ‘construction' as a form of ‘co-construction', we can begin to contemplate the dynamic processes of ‘co-evolution', where actors and ‘products' (or entities) in networks continually interact with and mutually shape each other, meaning that each ‘construction' is a dynamic co-construction that changes over time or in successive iterations, along with other elements in the network that together ‘co-evolve'.6 Elizabeth Shove has outlined one version of a basic sociotechnical co-evolutionary system in the form of a triangle whose three poles are the habits and expectations of users (or ‘user cultures'), the technologies and objects they use, and the collective conventions and arrangements associated with large-scale social structures and technocratic infrastructures (Shove, Comfort 48; see also Sofoulis and Williams 54). Two-way arrows between each pole indicate co-constitutive interactions between user cultures, technologies, and systems, each of which adaptively changes and evolves in response to interactions with the others.