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Television critics play a central role in the interpretation of cultural forms, objects, and productions. In contrast to critics in elite art worlds, the role and status of television critics are less institutionalized and less well understood. One indicator of the degree and status of the institutionalization of critics’ roles is the codification of evaluative criteria and critical practices. Our research examines whether critics in television draw upon a recognizable set of evaluation criteria, and if so, whether that repertoire of aesthetic concepts increasingly parallels criteria employed by critics in elite art worlds. Using multidimensional scaling to delineate television criticism over the last two decades, a period of considerable transformation in the industry, we find that television criticism attends to a core set of conventional criteria. These include appraisal of formal aesthetic elements, signaling increased attention to television as an art form, while retaining consideration of factors such as entertainment value that are of interest to audiences and business constituencies alike.

Thus far, we have treated critical thinking descriptively and analytically in previous chapters. In this, the epilogue, as a closing chapter, we intend to consider critical thinking normatively – what it should be, ideally and holistically. We do this in four stages. First, recapitulating the essential concepts, theories, and paradigms of social welfare, social well-being, and social progress, we suggest that critical thinking should ultimately understand and further social progress and social well-being for all humanity. Second, we submit that the great wealth of corporate and free-market capitalism should – as spiritual capital – benefit all, especially the poor and the marginalized. Third, in order to realize the first two objectives, we posit that critical thinking should be repositioned as the art of aesthetic reasoning and aesthetic rationality such that, fourth, it is best realized within the framework of social mindfulness. We discuss major theories grounding these four parts and reflect on their managerial implications and propose future directions for critical thinking research and development.

Drawing on sociolinguistics, this chapter proposes an encoding–decoding perspective on evaluation, conceptualizing codes as interpretive schemas that are encoded by firms and decoded by audiences. A key element in this process is code complexity, denoting combinations of interdependent elements. We demonstrate that the evaluation of code complexity depends on the type of audience (professionals and laypersons) and the type of complexity (technological and aesthetic). We analyze the attribution of awards by professionals and the public in luxury watchmaking, featuring three mechanisms: the social embeddedness of audiences, their motivation for evaluation and supply-and-demand matching. The results attest to significant differences in the evaluation of technological and aesthetic code complexity by professionals and laypersons. There is a premium attributed to aesthetic code complexity by professionals and a premium attributed to technological complexity by laypersons. Finding the right type and level of code complexity to pursue in their offerings is a key strategic challenge for producers.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.

Purpose: This paper adopts a practice-oriented approach to address gaps in existing knowledge of the significance of cultural producers’ and intermediaries’ practices of taste for the construction and organization of markets. Using the example of the cultural field of “natural” wine, I propose how taste operates as a logic of practice, generating market actions in relation to the aesthetic regime of provenance.

Methodology/approach: The paper sets out the conceptual relationship between aesthetic regimes and practices of taste. The discussion draws from interpretive research on natural wine producers and cultural intermediaries involving 40 interviews with natural wine makers, retailers, sommeliers, and writers based in New York, Western Australia, the Champagne region, and the Cape Winelands.

Findings: Three dimensions of how taste is translated into action are examined: as a device of division, which establishes a fuzzy logic of resemblance; as a device of operation, which provides an intuitive platform for shaping the means of production; and as a device of coordination, which enables an embedded experience of trust.

Originality/value: The paper’s discussion of dispositions, affect, intuition, and pattern identification provide new insights into the translation of taste into action, and the macro-organization of markets. I argue for attention to how cultural producers and cultural intermediaries are mobilized through their habitual sense of taste, shifting the focus away from consumers to those whose market actions are largely self- and peer-referential. This is important for understanding processes of market development and value construction.

This chapter discusses inspiration and innovation through social transformation taking place in Asia through leadership utilizing concepts of Buddhism. In India, values of the Buddhist dhamma are grounded in a permeating esthetic system dating back to early historical times. It was lost there and revitalized in 1956. For Taiwan, inspiration came in the name of humanistic Buddhism that developed in late 19th century China. It offered a moral and practical value system for society at large.

Buddhism became socially engaged as part of a cultural ethos for over a generation with underlying integrated roots in local beliefs, esthetics, and practices. The broader question to discuss is how Buddhist values influence policy leadership. Here, we feature engaged Buddhism that emphasizes awareness, compassion, and non-violence, while embracing modern ways of organizing and communication.

Cases are provided where Buddhism has shaped leaders’ roles and aims, as well as those of followers guiding reforms for best governance. In India Dr. Ambedkar (1891–1956) embraced Buddhism as a platform for deliverance and championed social equality. His life’s struggle concerned issues of caste, as he was born “untouchable.” The second example is about Dhamma Master Cheng Yen (b. 1937) who established Tzu Chi in eastern Taiwan as a relief agency that became international. Both leaders helped life’s embetterment through Buddhism based on modernity, science, advanced technology, leadership, and democracy. These examples of engaged Buddhism have made tremendous impact pertaining to the people of their nation and serve a model for world development.

Information behaviour has evolved to focus on the dynamic human information interactions (HII) between systems and users, to develop models that encompass user behaviour, cognition and affect, and to understand the ways in which context and tasks motivate information needs and shape information seeking and use. In recent years, user experience (UX) has gained prominence in human–computer interaction (HCI) and may provide further enrichment and new directions in the design and development of HII theories, methodologies, systems and services. This chapter seeks to provide an overview of UX, and to explore the intersection between HII and UX, specifically with respect to the shared emphasis on context, needs and sense making. The overarching aim is to provide new directions for information behaviour by proposing that we view HII through a UX lens as we strive to holistically conceptualize, evaluate and design for human information experiences. Taking a UX approach allows us to imagine information interactions as rich and varied narratives, and to explore information seeking and use as processes within, as well as outcomes and predictors of human experiences.

The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.