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How do we write from the sensory body in ways that can convey the lived experience of the researcher and the researched, which can allow other researchers to make sense of their lived experience as well? What alternative writings could transform disembodied academia through dialogue and relational reflection? The aim of this chapter is to reflect on the value of the researcher’s embodied reflexivity in academic writing. More specifically, this chapter explores the ways in which we can write differently about organisational phenomena by experiencing aesthetic moments in the field. To accomplish this, I share examples of the aesthetic moments that I, as a researcher, experienced while undertaking three ethnographic projects: a study on professional dance, a study on academic motherhood and a study on female-canine companionship. This chapter identifies three aspects that allow the researcher to experience aesthetic moments – namely, appreciating sensory cues, writing ‘in and from the flesh’ and allowing vulnerability to flourish. Paying attention to the social micro-dynamics that exist between researchers and research phenomena and addressing the analytically marginalised experiences of researchers, therefore, allows for developing academic writing practices in more reflexive and sensory-appreciative directions.

Handler's genealogy of postmodernism recounted in his address recognizes its origin in aesthetic disciplines and its somewhat viral transcription into social jurisprudence: “the postmodern concept of subversion developed first in language and literary theory, art, and architecture and then spread into politics and law” (1992a, p. 698). Although Handler's rejection of deconstruction stems from what he sees to be its political quiescence, its association with aesthetic critiques of modernism haunts his claims as one source of its essential conservatism. Aesthetic values, he implies, remain distant or distinct from pressing issues of political and social inequality.

Purpose – Appreciating the continuing relevance and contribution of Theodor W. Adorno's work requires acknowledgement of the difficulty to grasp his philosophy in a way that is consistent with that which is to be understood, as the necessary first step to achieving concordant understanding.

Design/methodology/approach – To assay an understanding of Adorno's quest for the object beyond the concept, it is best to undertake a journey through the complexity of his thinking, beginning with the book he wrote with Max Horkheimer, Dialectic of Enlightenment.

Findings – The difficulty to capture the substance of philosophy in a manner that allows for representation arises from the inherently processual character of philosophy, which is always both unfinished and without secure summation of report at any step along the way. Indeed, the difficulty is all the greater with respect to Adorno, in light of his postulate that philosophy “must strive, by means of the concept, to transcend the concept.”

Research limitations/implications – Adorno's obsession to overcome the compulsion of identity made him perceptive and blind at the same time. To liberate his insights from their reconciliatory-philosophical shroud, one would have to expose the concept of rationality to the same obsessive gaze under which false generalities dissolve in Adorno's philosophy.

Originality/value – The inherently processual character of Adorno's philosophy makes his writings especially germane to present conditions of modern society, as they highlight the importance of efforts to develop theories that are sufficiently sensitive to the dynamic character of modern society, including its inconsistencies and its contradictions.

Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches.

Methodology/approach – This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene.

Findings – Concepts such as carnival, jamming as an organizing process – and as an aesthetic moment – emerged through the research process. This ethnography found narratives constituted personal and communal identity.

Research limitations/implications – As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences.

Originality/value of paper – Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.

Michael E. Brown's book, The Concept of the Social in Uniting the Humanities and Social Sciences, demonstrates that prominent attempts to account for the social dimension of human affairs rely on an unstated notion of a “course of activity,” that is diametrically opposed to the conceptualization of sociality that is presumably intended to realize it. I want to focus on the idea of a “course of activity” in order to locate his work in and clarify its importance to the development of dialectical reason from Heraclitus through Hegel and beyond. Of special importance is the bearing of his research on the critique of contemporary theories of agency and sociality, and, since considerable attention has been paid, in this regard, to the arts and humanities, some of what I will say about this refers to art and its avant-garde moments—-particularly in my work on Dada and Brown's account of two avant-garde theatrical performances. 

This chapter examines what is entailed by separating agency from individuality and what it means for the idea of a “course of activity,” (going on) and its relation to the concept of sociality. This also bears on questions of ontology, as Brown's course of activity is generative and nonrepeatable. The course of activity and nonrepeatability are linked to both avant-garde practice and theoretical notions that reframe our temporal understandings. These include the avant-garde of dada and surrealism, and the reformulations of bourgeois time of Jean Duvignaud, Walter Benjamin, Ernst Bloch, and Jean-Paul Sartre. The question raised here is that of a teleological understanding—how we link the present course of activity with future events.

Critical Theory was, more than anything else, a determined effort to keep alive the notion that there were alternatives to the existing cognitive order, one that seemed to find necessity in the contingent (and irrational) order of mature capitalism. Herbert Marcuse famously paid tribute to the power of the Imagination to destroy the illusion of the absence of alternatives to the existent, developing both an esthetic social theory and a social theory of esthetics. Yet the founder of Critical Theory, Max Horkheimer, was always suspicious of the Imagination, seeing it as predominantly a reproductive and not productive faculty – something that strengthened the hold of the existent on us, not the reverse. I argue that some of Horkheimer's interpretation of the role of the Imagination is rooted in his early work on Kant's Third Critique, which was conducted under the imprimatur of Gestalt psychologist Hans Cornelius. Thus suggests that there may be more connection between Horkheimer's early Gestalt-influenced thinking and his later work, and may even suggest possible directions for a post-Freudian critical theory.

The established role of communication in sustainability studies is mainly to transmit information, about or for sustainability: disciplinary knowledge or mobilization of popular support. This chapter addresses the sustainability of communication itself, with a performance accounting framework for sustainability of organizational communication. The organizational emphasis derives from incorporating basic concepts from the work of James R. Taylor and the “Montreal School” approach to theorizing organizational communication. Communication as “text” (discursive formats and genres) and “conversation” (interactive, situational sense-making, and exchange) is assessed according to narrative and dramatistic logics in addition to instrumental ones; and sustainability standards are applied to “triadic” dimensions of communications: (1) the physical-artifactual substratum, or “carriers” of communication, including technologies, (2) symbolic forms that convey information, meanings, and ideologies, and (3) relations and interactions of communicative role-playing. The goal is to provide for sustainable knowledge, meaning, and participation mainly in organizational settings.