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The purpose of this chapter is to document how a new learning technic may create transformative learning in leadership in an organisational practice.

The learning methods developed in the learning in practice (LIP) project include aesthetic performances combined with reflections. The intention has been to explore how leadership may be transformed, when leaders work as a collective of leaders. The learning methods developed and tested in the LIP project are art-informed learning methods, concepts of liminality and reflection processes carried out in the leaders’ organisational practice.

One of the most important findings in the LIP project in relation to transformative learning is a new learning technique based on guided processes rooted in aesthetic performance combined with reflections and separation of roles as performer and audience. Reflection processes related to aesthetic performance serve as argument for the impact of ‘the audience wheel’.

Leaders who perform and reflect in a collective of leaders can better deal with complex organisational problems and enhance growing of welfare-in-the-making from an inside and out perspective. Moreover, the separation between classroom teaching and practical intervention will diminish when leaders learn aesthetic performance and reflections as a practical technique.

Contemporary art organizations play a key role in driving cultural tourism, offering visitors memorable experiences. Among the segments of visitors, young adults represent a key target because they are the most interested customers in contemporary arts and they represent 23% of the international travelers. Despite their relevance, little is known about their customer experiences in contemporary arts, and the resulting arts engagement. Although their contemporary arts experiences are expected to generate great benefits in terms of social, ethical, and economical values for the entire society, the relationship between young adults and contemporary arts is typically difficult to understand and, consequently, to facilitate. To address this issue, we run a complex qualitative research project. Distinguishing young adults between those who are familiar with contemporary arts and those who are not, we conduct four research projects by applying two qualitative techniques: the in-depth interview and the Zaltman Metaphor Elicitation Technique (Z-Met). Further, we extend the in-depth interviews to the contemporary arts experts. In total, 70 consumers and 10 experts participate in the research project providing cognitive and emotional insights by exploring barriers and benefits of consumption in contemporary arts. Our findings show that arts engagement is the key concept, linked to three levels of consumer reactions – cognitive, emotional, and social responses – and that it is caused by three antecedents, namely – involvement, sharing, and comprehension. Implications for the actors in the world of contemporary arts and cultural tourism are discussed to obtain higher levels of arts engagement among young adults, and, consequently, their attractiveness.

To determine where, when, how, and wherefore European social theory hit upon the formula of “the True, the Good, and the Beautiful,” and how its structural position as a skeleton for the theory of action has changed.

Genealogy, library research, and unusually good fortune were used to trace back the origin of what was to become a ubiquitous phrase, and to reconstruct the debates that made deploying the term seem important to writers.

The triad, although sometimes used accidentally in the renaissance, assumed a key structural place with a rise of Neo-Platonism in the eighteenth century associated with a new interest in providing a serious analysis of taste. It was a focus on taste that allowed the Beautiful to assume a position that was structurally homologous to those of the True and the Good, long understood as potential parallels. Although the first efforts were ones that attempted to emphasize the unification of the human spirit, the triad, once formulated, was attractive to faculties theorists more interested in decomposing the soul. They seized upon the triad as corresponding to an emerging sense of a tripartition of the soul. Finally, the members of the triad became re-understood as values, now as orthogonal dimensions.

This seems to be the first time the story of the development of the triad – one of the most ubiquitous architectonics in social thought – has been told.

This paper proposes that narrative inquiry adopt the concept of the “involute” – a passage stored in memory from reading that is later enlisted as a problem-solving device – to further the goal of understanding the identity work performed through reading and writing. Three related examples are given – one from Thomas De Quincey, the nineteenth-century essayist who coined the term and used an involute in fashioning himself as a scholar; one from Jane Addams, who used an involute from De Quincey to separate the role of the social worker from that of the literary critic; and one from the contemporary New Historicist Stephen Greenblatt, who used an involute to create a socially engaged identity for literary researchers. Considering these examples, I argue that involutes offer insights into the connections between selves and others, words and acts, past and present that should advance interdisciplinary study and advocacy of morally responsible discourse.

Wine has been considered an artisan product for a long period of time. This is due to the cultural heritage and history that goes into the production process. The aim of this chapter is to discuss the role of wine artisans in the global economy in terms of tourism and the esthetic cognition apparent in rural landscapes. To do this, the role of customers as co-creators of the wine experience is discussed, which helps to understand the evolving nature of the wine industry. The way artisan forms of wine are being produced because of eco-innovation reasons are stated. This enables more information to be obtained about the nature of wine artisan entrepreneurship. Theoretical and practical implications are stated together with suggestions for future research.

The purpose of this chapter is twofold: in the first part, we will provide comprehensive, state-of-the-art urban and visual studies across the domains of visibility, urban aesthetics and the legitimate use of the urban. We will show that what we see is foremost what is accessible and legitimate as a vision, while the urban provides multiple realms of invisibility that are often neglected or rendered invisible. Art, architecture, urbanism and place-making will be used as examples of these dynamics.

In the second part of the chapter, we will present a research study on the decolonial practices of re-signification of colonial urban traces. Despite the dominant representation of Italians as ‘good people’ (a local version of ‘white innocence’), in recent years, Italy has witnessed a new interest stemming from bottom-up local movements dealing with colonial legacy in the urban space. We will show a research example (‘Decolonising the City. Visual Dialogues in Padova’) based on participatory video, arts-based methods and walking methods.

The contours of the question of transmission or jurisdiction receive a particularly sharp delineation in a recent judgment from the annals of contempt of court. How can the solicitor scandalise the court, without destroying the law? Consider Anissa v Parsons. It involves the doctrine of contempt by scandalising – the most feudal of the three legally recognised types of contempt used to keep “the streams of justice clear and pure.”⁵ And the question that the judgment confronts is the technical and representational ordering of law, and specifically the articulation and disarticulation of two orders – that of the court and that of law.

In this chapter, the authors situate metal medievalism in the discourse on medievalism and neomedievalism. Detangling the ways in which historicity and authenticity are perceived and negotiated in metal cultures reveals how metal medievalism’s relationship to the past illuminates perceptions of post-modernity. The disparate pieces of the Middle Ages (both ‘real’ and ‘imagined’) form a bricolage through which post-modern meanings are expressed. Metal musicians and consumers use these fragments of the past as a means of collective resistance against the post-enlightenment, capitalist and machine-mediated present. The Middle Ages represent attempts at the re-enchantment of the present with a transcendent, organic, and carnal past. The meanings which are created this way are far from uniform or absolute however, but spiral between historical and imaginary, collective and individual, and continue to spin on in ever more complex permutations with no sign of abating.

Beyond the idea of the city as ‘an abstract terrain for business operations’ (Greenfield, 2013), this chapter analyses alternative constructions and research processes for engaging with ideas of smart cities and digital spatiality, drawing upon the author's arts-based research making virtual reality installations. The chapter describes workshops in which participants have navigated virtual and analogue city spaces, discussing their own ideas of smartness and the mapping of cities. These workshops took place off and online, collaboratively framing intelligences beyond the extractivist logic of surveillance and the Internet of things. In the making of this work, questions of what we mean by smartness and futurity were materialised. The chapter expands on these projects and questions, asking what kinds of design prevents social equality (Ansari, 2020; Irani, 2015), who is left out of these constructs and why? The author draws upon this work in relation to Waterford, examining how the specific historical and contemporary contexts and topography of the city informs a situated approach to technologies of representation. Rivers, from the Thames to the ‘artificial’ Huangpu, the Suir and John's River in Waterford, in their contingency and ontological instability, run through the chapter as a situating, post-human presence.