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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.

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.

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.

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.

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 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.

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.