Search results

While Cooperrider (2001, p. 32) suggests that appreciative inquiry is about “the artful creation of positive imagery,” most of the literature that describes the process of artful creation explains it as one in which the organizational members simply talk about these new images, vs. actually engaging in the creation of artistic representations of the desired future. This chapter moves the appreciative inquiry literature beyond the metaphorical understanding of the “art of” appreciative inquiry in order to reveal and explain how practitioners are actually engaging organizations in the artful creation of positive anticipatory imagery. In this chapter, the literature that labels and describes the process of artful creation in organizations is reviewed, described, and synthesized into five propositions – ultimately creating a framework for understanding artful creation as a unique organizational discourse: an aesthetic discourse. These five propositions reveal the common characteristics of artful creation: (1) presentational knowledge/language; (2) mediated dialogue; (3) symbolic constructions that act as metaphorical representation; (4) collaborative inquiry/co-creation; and (5) window to the unconscious. The chapter concludes by addressing the implications, seeking to answer the question “What is the value of an organization engaging with the process of artful creation?” Finally, the chapter suggests that the five propositions may guide future research in two areas: (a) the practice of the artful creation of positive anticipatory imagery in appreciative inquiry; and (b) the further development of a theoretical framework for understanding the “art of” appreciative inquiry as aesthetic discourse.

This chapter presents a form of both co-participation theory and artful inquiry methodology as useful approaches in carrying out research into the student experience. Participatory Pedagogy is predicated on repositioning participants as co-producers of knowledge by introducing them to important aspects of the research, providing a platform to foster expression and affording opportunities to co-shape the research process. Artful inquiry can take many different forms, but collage in particular has the capacity to bring new meanings to the surface even in well-researched fields, such as the student experience. In supporting a Participatory Pedagogy approach, collage can unpack powerful testimonies of personal experience. A practical application of this pairing is also presented based on research into the student experience. This gives readers an insight into how it can be applied to a study, what its limitations might be and especially how students, particularly those from under-represented backgrounds, can benefit from being involved.

This research explores the ways in which a pre-service teacher (Deidre) reflects on experiences to develop transformation into a professional educator. This study investigates how pre-service teachers engage in dialogue and art to elaborate and reflect on learning experiences, which provide evidence of mindshift and emergent knowledge and teacher identity.

Often difficult to measure and trace, this work presents the emerging transformation of a pre-service teacher through ethnographic methodology, stories and artful practice.

As part of a larger study, the design reveals transformative mindshift from pre-service teacher reflective stories. Data from interviews and artful practice reveal evidence of moments of pedagogical impact, which contribute to identity and professional practice (Clandinin et al., 2006; Loughran, 2006).

Focusing on “what”, “when” and “how” transitions occur is explored to further understand the professional development in initial teacher education.

Building on research undertaken by Cochran-Smith and Lytle (1999), this investigation draws on artful reflections and stories to evidence elements of powerful pedagogical learning in order to teach in the world of professional practice.

This paper aims to explore the phenomenon of workplace bullying in response to recent calls for the development of different approaches and provide an exploration of artful approaches to intervention.

The paper offers a unique conceptualisation of workplace bullying and applies a phenomenological lens to the issue. A review of literature explores the potential value of artful interventions, and drawing on authors’ knowledge and experience with the targets of bullying, they design a forum theatre intervention for use in practice.

This paper argues that phenomenology offers a unique and valuable approach to understanding workplace bullying and its management. In turn, the authors propose that artful ways of engaging with workplace bullying could be an effective way of empowering workers in a “moment” of workplace bullying, and present a forum theatre workshop specifically designed for application in workplace contexts where bullying is prevalent. The three-phase workshop aims to help employees critically reflect on their current work practices and is intended for use in small group teaching.

The long-term impact of this intervention has not been evaluated against more traditional methods of addressing this problem. Future research should evaluate the efficacy of this, and other art-based interventions, in workplace settings.

Workplace bullying research is predominantly conducted from a functionalist perspective, and other methods of inquiry, such as phenomenology, are rarely considered. This paper argues for artful interventions and provides an original, tailored workshop designed to empower employees to recognise and respond to bullying in the workplace.

The purpose of this paper is to illuminate the way in which pre-service teachers adopt ways of thinking critically about learning and practice. It highlights the unfolding of critical dialogue, knowledge and artful action as a way of “reading the scene” (Pahl and McKenna, 2015). The focus concerns mindshifts that occur while learning to be a teacher. The study sets out to seek factors that contribute towards development as professional practitioner.

As part of a much larger study involving ten pre-service teachers, this paper focusses on just one participant named Meredith, a pre-service teacher in her fourth year of her teacher education course. The design constructed draws on the data from Meredith’s interview and conversation, art making and gestural activity while painting and communicating her stories. These narratives from interviews exist in this paper as vignettes and privilege of the interplay of art making, interview and gestural responses. Implementing a framework by Denzin (2001) enables a way of reading to note learning and epiphanic moments that exist for Meredith.

Moment of learning and themes are indicated and suggest that from the original interview there are 11 important moments of epiphanic mindshifts for Meredith.

The method as practice intends to make cogent links to new levels of consciousness by presenting innovative ways in which qualitative research data can be gathered and analysed. Meredith engages in mindshifts that occur as learner and also embraces experiences of praxis as a means of understanding self and teacher identity.

Arts‐based learning in business is a young field. Few businesspeople are aware of the opportunities to learn about it. This article takes an international look at the most prominent programs that bring together businesspeople, artists, and academics in various combinations.

Over the past several years, the author has interviewed people active in the field in the USA and Europe. This survey article brings together her findings.

There are many opportunities for learning. Some bring artists and businesspeople together; some combine academics, artists, and businesspeople; and within the academic community there are many opportunities for artists and academics.

Businesspeople will learn and take advantage of learning opportunities.

The author has not seen such a survey published elsewhere.

The purpose of this paper is to consider how the drama space is a way of inquiry in its own right and as a complex “way of knowing” has a capacity to be a profitable location from which to artfully thread and critically interrogate the performances of lives-as-lived.

The autoethnographic discussion has an overlay of histography as it brings the “real-life” word to the drama space and builds on naturalistic and experimental research moving the reader through transformational inquiry to what they name as drama as a post-foundational research method.

In using drama as artful practices, intra-reflexivity – interior focused – felt as artistic “process” leads “psyche” to an empathic space for acceptance of the fugitive selves and demonstrates “queerness” through the narratives as monologues.

The vignettes presented as monologue attest to the authors’ life histories and their “fugitive” ways of being as gay men.

The authors consider how drama as methodological practice can re work the notion of text-to-life or life-to-text, as an expression of a will to knowledge, of the authors working dramatically with their participants and students to find a way to articulate experience and place at the centre of research an agentic voice in relation to psychological, socio-cultural and historical interpretations.

Drama, as a methodological approach, has, the authors suggest, the potential to move beyond disembodied and abstract mental processes and to draw out of the closets the interpersonal relationships that have historically been seen as dangerous or disturbing.

The purpose of this paper is to present the views of Robbie Steinhouse, a CEO of a property and insurance business, on strategic decision making.

The paper comments on the best ways to make strategic decisions in business in times of difficulty. It also provides a series of questions which it suggests can help in the decision‐making process.

The paper finds that implementation of decisions is best done as slowly as possible. The great decision maker moves at the speed that is required by the situation, which may be very fast indeed, or can be quite slow.

The paper provides useful information on strategic decision making in the business environment.

Rhetorical works (schemes and tropes) can increase advertisement liking. Because liking impacts advertising effectiveness, this study aims to investigate if positive processing, brand awareness, and persuasion outcomes previously associated with rhetoric are spurious and chiefly attributable to liking.

An experiment (n=448) employed natural advertising exposure conditions and a 3 (headline: nonfigurative, scheme, trope)×2 (copy length: long, moderate)×2 (involvement: high, low) between‐subjects factorial design.

Absent of liking differences, schemes and tropes are robust motivators of available resources devoted to processing (elaboration and readership). Favourable arguments only influence brand awareness and persuasion if processed. Consumers negatively view longer copy. Nonfigurative headlines encourage insufficient processing as copy lengthens. Insufficient processing decreases brand awareness and persuasion. However, schemes and tropes overcome negative copy length effects on brand awareness and persuasion regardless of involvement.

Without the benefit of increased liking, schemes interfere with copy point and brand memory similar to other creative attention‐getters – humour and sex appeals. Instead, schemes focus consumers on advertising style. The results are based on consumer responses; thus, error may make differences harder to detect. Another limitation is the focus on a single low‐risk, informational product, i.e. pens. Future research should investigate effects of rhetorical works with high‐risk and transformative products.

Advertisers should use rhetorical works to motivate processing, especially with longer copy explaining advantages of new, technical, or complex products. Also, effective rhetorical works need not create positive affect.

Isolating advertising rhetoric effects from liking differences explains anomalies in the literature (e.g. scheme versus trope superiority).

This chapter advances an articulation of the contemporary knowledge worker as an infrastructural bricoleur. The practical and pragmatic intelligence of the contemporary knowledge worker, particularly those involved in project-based work, reflects an ability to build adaptable practices and routines, and to develop a set of working arrangements that is creative and event-laden. Like Ciborra’s octopi, workers augment infrastructures by drawing on certain forms of oblique, twisted, flexible, circular, polymorphic and ambiguous thinking until an accommodation can be found. These workers understand the non-linearity of work and working, and are artful in their pursuits around, through and beyond infrastructural givens. Modern knowledge work, then, when looked at through the lens of infrastructure and bricolage, is less a story of failure to understand, a limitation in training or the shortcomings of a system, but instead is more a mirror of the contemporary realities of today’s knowledge work drift as reflected in individuals’ sociotechnical practices.