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The purpose of this paper is to use media studies as a creative impulse for critical research into practices of organization.

Through an aesthetic reflection on the use of media, an experience of organization is examined as a form of postponed judgement.

Aesthetic judgement can be helpful to establish new forms of relationships, but it is questionable if organizations are willing to stimulate this form of dis‐organizing.

Media studies in organizations can lead to emphasis on communication as a form of control, or the opening up of the organization to more chatter and noise.

Using McLuhan and media studies in the context of organization studies can lead to new insights for both.

This paper aims to examine the strides taken by academic libraries in Kenya to match the standards of modern library buildings while highlighting ensuing impact on user satisfaction. It will give an insight and provide a comprehensive comparison between Kenyan modern libraries and other modern libraries in the world which are considered best library designs, to show progressive development of library design and equipment.

The paper takes a viewpoint approach after studying the history and development of the current library buildings in Kenya. This paper will answer the following questions: How far are Kenyan university libraries in embracing open space and aesthetic reflections? What is the impact of artistic modern library designs to user satisfaction? What are the effects of colorful interior design and décor on libraries? In addressing these and other related questions, the design of new academic libraries in Kenya over the past eight years is traced.

Libraries in Kenya and other developing countries have stayed in the right path of revolution by adopting the modern library designs and giving library users more reasons to cherish their libraries as not only reading facilities but also destinations for relaxation, discussions and hangouts. The United States International University (USIU) Library has been touted as the pioneer modern library building, and its standards have been replicated and bettered by other libraries in Kenya today. This is a big stride for Kenyan libraries in the wake of dynamism in libraries.

The value of the paper is that it gives an insight on the development of library buildings in Kenya, providing a comprehensive comparison between Kenyan modern libraries and other modern libraries in the world which are considered best library designs, thereby showing progressive development of library design and equipment.

The purpose of this article is to use an extended model of self to understand the consumption of music and similar entertainment products.

In-depth interviews using experts within the music field were used to penetrate the private worlds of musical theatre enthusiasts. Multiple qualitative analytic techniques were used to explore the different aspects of the self underlying music consumption.

Repeated exposure to musical theatre allowed subjects to refine their consumption of specific performances that reflect the preferred aspect of their extended self. It is found higher order consumption needs are an integral part of the extended self, and form an important basis for consumption decisions. Of particular importance is the reflection of the self that assists others in their consumption choices.

Present research widely recognises consumers are seeking more than just “entertainment” when they consume an entertainment product, but struggle to characterise what it is consumers are actually seeking. This research provides this insight through an elaboration of the extended self-model.

In the context of organizational aesthetics, “built environments” remain under‐explored. The purpose of this paper is to enter the maritime world of ship architectures to navigate sensory‐aesthetic knowledge of a sailor's place‐based memories.

Challenges have been issued to explore the potential for artistic‐sensual methodologies to both study and represent organizational aesthetics. The authors accept these challenges in the context of “shipscapes”.

A sailor's “artworks” become artefacts through which are evoked rich, multi‐sensory descriptions of deep‐sea tug vessels. The sailor's sensible knowledge is related to seafaring practice, the aesthetic taste for ships and the aesthetic bond with them. Sensory‐aesthetic architectural memories are further connected to functional and symbolic aspects of ships as built environments.

Certain place/space shipboard knowledge remains constrained by the boundaries of an “arts‐based” sensory‐aesthetic method.

The multi‐sensed, remembered and co‐constructed nature of “shipscapes”, as celebrated through a seafarer's already created art, keeps aesthetic knowledge close to the source of both embodied experience and aesthetic meaning.

Since the late 1980s, brands have gained centre stage in marketing and in the managerial discourse. From having been a mere marker that identifies the producer or the origin of a product, the brand is today increasingly becoming the product that is consumed. For the corporation, the brand is conceptualised as the essence of the firm, its most crucial “asset”. In the literature, branding is described as a process of expressing core values through the use of persuasive stories. By questioning the conception of brands as corporately managed stories, the article aims to re‐conceptualise branding as a process of aesthetic expression, where the conventional distinctions between senders and receivers become blurred. The paper looks into how brands have become depicted in the branding literature, and thereafter discusses the narrative and pictorial modes of communication. On the basis of this, the article finally discusses how images are used and reused in the joint construction of brands, thus challenging the idea of brands as stories crafted and controlled by the corporation.

This article explores recent changes in Hong Kong’s independent documentary filmmaking during a decade of escalating protests in the territory, focusing in particular on cinema's role in Hong Kong's “movement field.”

The article focuses on Ying E Chi, an important distributor and promoter of Hong Kong independent films; the annual Hong Kong Independent Film Festival it organizes; three recent documentaries it distributes that are relevant to the 2019–2020 protests. The findings in this article are based on interviews, the textual analysis of relevant films and participant observation at film screenings.

This study argues that independent documentaries function in Hong Kong's “movement field” in three main ways: by contributing to and providing a space for civic discourse, by facilitating international advocacy and by engaging in memory work. Its contributions to civic culture, it asserts, are reflected in the films' observational aesthetic, which invites reflection and discussion. Public screenings and lengthy post-screening discussions are important ways in which these functions are realized.

This article builds on existing literature to propose a new way of thinking about cinema's role in Hong Kong social movements. It also analyses three important recent films that have not yet been covered much in existing academic literature.

To explain the process of how star architecture projects generate impact, one must first describe the outputs of such projects and then unpack the wide array of potential effects, which are generated by these outputs. This requires the application of multi-disciplinary research perspectives. Only then can one begin to systematically analyse the long-term impacts. The purpose of this paper is to illustrate how the complexity of such multi-disciplinary research exercise can be managed through the application of a methodological strategy aided by a conceptual impact model.

A conceptual impact model is presented, which describes the process of the development of star architecture projects, the various outputs of these projects and the possible effects generated by these outputs. The effects of three case study star architecture projects are discussed.

Empirical research findings indicate that while the isolation of effects serves the operationalisation of research, the investigation of the impact of star architecture projects on their respective cities must draw on the intertwinement of the fields of urban economy, society and morphology. The paper concludes by arguing for the application of the described methodological strategy as the basis for understanding in which dimensions a star architecture project generates impacts.

The potential of the proposed impact model for urban analysis when considered as a field of intertwined relations is demonstrated in this article. It helps to reveal how particular local developments change the city significantly in socio-cultural and spatial terms.

The transformative impact of star architecture projects and the role of economic and other effects in this process has hardly been studied, particularly in small and medium-sized cities. This article presents a unique multi-disciplinary research project approached consecutively in the aforementioned fields.

Islamic art is characterized by a deep-rooted vitality and distinct form of expression that arises from its intimate position with regard to Islamic civilization. While civilizational turning points and major occurrences have held deep ramifications for its growth and development, the most prominent catalysts of civilizational status are not only found in the realm of the political and economic, but rather within a deeper expanse of ideas, spirituality, and societal consciousness; of which Islamic art acts as a prime indicator. The paper aims to discuss these issues.

This paper would seek to survey the depths inherent within Islamic spirituality's relationship with Islamic art, and further isolate the reasons and source of their subsistence and continued prevalence.

The paper further delves into the relationship shared by spirituality and art, and the influences they exert upon one another. Moreover, it attempts to delineate between the mundane and transcendental spheres of civilizational growth and development, while seeking to come to terms with the sustainability of Islamic art, and its position with respect to Islamic civilization.

The paper concludes that Islamic art is sustained and defined by means of a unique catalyzing ethos responsible for Islamic civilizational culture that is altogether distinct from the temporal mundane reality of socio-political conditions of civilization.

The purpose of this paper is to report a pilot study that evaluated an innovative practice in a faith community context designed to help older people live well at the end of life and prepare for death.

A simple audit of the intervention using a contemporaneous journal kept by the author, and a follow up questionnaire completed by participants.

Rich findings on the process are reported. These indicate a high degree of engagement by participants, the establishment of a high degree of group intimacy and trust, a high level of articulation of wisdom, the emergence of significant anxiety in some isolated cases, and the use made of tea and cake to manage the transition between the existentially demanding nature of the discussions and normal life. The outcome indicated very high levels of appreciation and increased confidence in relation to issues of death and dying.

The findings of the pilot have been used to inform training of clergy in the principles of working in this area (e.g. in ways of managing group dynamics and anxiety, pacing, tuning in to archetypes and the natural symbols that people use to talk about death and dying, self-care and supervision of the programme leader/facilitator).

The paper adds to knowledge in terms of an in depth description of processes at work in a group of older people working on spiritual and practical issues in relation to death, and offers ideas for supporting older people in this process, some of which are specific to the Christian tradition, and some of which are more widely applicable to people of all faiths and none. It gives a specific worked example of what “spiritual care” in this area might look like.