Search results

The case focuses on the following theoretical basis: • conflict management and its resolution; • multiculturalism and workforce diversity through the lens of Hofstede model; and • the Policies, Legal, Universal, and Self model of ethical of building an ethical organization.

Field study with the leadership team as well as with the key talent (people).

Conflictorium, situated in Ahmedabad since 2013, is a museum which acknowledges and discusses conflict through various art forms. Since its inception, the museum has fostered values like diversity, transparency and care reflecting in how it deals with its people and finances. Now, as the museum plans to reach out to new audiences, it is confronted with a challenge to preserve its cherished values and still expand its activities.

This case study is intended for graduate and postgraduate management students.

This chapter explores how department stores came at the end of the 19th century to be at the origin of what is now called “fashion tourism.” Contributing to a new “geography of commerce,” it highlights the role of the space of the department store both as a place of conspicuous fashion consumption and tourism. Further, it demonstrates how Parisian department stores helped consolidate Paris's place as the capital of fashion and luxury. Far from being only places to buy the latest in fashion, the latter became indeed a symbol as quintessentially Parisian as the Eiffel Tower and as necessary to visit for the “Paris experience.”

The purpose of this paper is to invite managers and practitioners to reflect on the meaning and implications of the concept of zero for individual and organizational spiritual growth.

Building on spirituality and complexity literatures, this paper stimulates non‐traditional thinking in organizational change and leadership. The paper uses the concept of zero as a creative metaphor for organizational development.

The paper introduces a systemic, unified, multidimensional, holistic, complex, chaotic and dynamic paradigm for organizations based on spirituality: paradigm zero. Zero represents paradox, transcendence, interconnectedness, balance, modesty, creativity, inspiration, and the essence and mystery of human existence.

This paper invites managers to consider a futurist perspective called zero‐centered thinking that enables creativity and reflection in the middle of complexity.

This paper builds on cutting edge spirituality and complexity concepts to enable new thinking for twenty‐first century managers and professionals. Zero philosophy provides organizations a new trans‐disciplinary paradigm based on spirituality, complexity, chaos, systems sciences, quantum physics, emergence, and Sufism.

In order to find a way to create the artistic conception of modern landscape space, the spatial analysis of Daguanyuan is carried out from the perspective of literature in order to find out the method of creating the artistic conception of modern landscape space. Adopting the method of general to special, from theory to practice, the argument with special significance is analyzed from the most common phenomena, and this argument is applied to the method of practical cases. The results show that Daguanyuan space in literature needs the audience's ability to understand words, the perception of space in film and television needs the audience's strong memory and imaginative thinking, while the perception of Daguanyuan space in garden art needs only basic discrimination ability. After analyzing the effect of Daguanyuan space construction from the literary perspective, it is believed that the writing techniques of starting point - development - climax - ending, wanting to carry forward first and restraining first, and reserving foreshadows in literature can be used for reference in modern landscape design.

In a process termed “organizational centrifugalism,” this chapter describes how avant-garde artists sought new, alternative organizational spaces for innovations in the visual arts from the late nineteenth century through the early twentieth century and how new alternative marketspaces co-evolved with these new organizational spaces. Organizational centrifugalism begins with the denouement of the state-run Salon and Academy in the mid-nineteenth century; the rise of the dealer-critic system and other, non-salon alternative exhibition spaces of French Impressionism in the latter half of the nineteenth century; and through many new organizational spaces associated with Modernism such as formal artists groups, museums, great exhibitions, schools of art, and Modernist art itself. The ultimate effect of organizational centrifugalism is drawing avant-garde art closer to the public and eventually the masses. Excessive organizational centrifugalism, however, can be dangerous to the avant-garde art.

Art is a complex, multiform, fluid human activity that is subjugated to time-space-place contexts and dependent upon social representation and values. But what is it for? This introduction to the book Art in Diverse Social settings begins with a general characterization of Art as universal language. Unlike verbal language, art is primarily processed in the sensorial and emotional fields and only later rationally; unlike science, it does not aim at explaining or predicting the laws of the world's phenomena, instead it communicates by showing (in essence, it has an expressive meaning). In today's world, art became an accessible good and a valuable human creation because of this reappraisal of artistic practices; art is today expressive in domains such as politics, citizenship, economy, ethics, sustainability or public affairs.

The introduction to this edited book explains why it is focused on the role of art in today's diverse society. Art is part of the worldviews and mindsets from which it results and as a complex and ambiguous product of culture and perception, it must be understood from multiple perspectives. As such, this book includes in the first part seminal chapters with a theoretical scope, which highlight conceptual, contextual and cultural issues of contemporary art. The chapters in the second and third parts of the book are exemplary case studies, describing concrete intervention projects, which use some form of art or composed artistic expression as a medium for communication and intervention in the contexts of social and professional organizations, public spaces or the community. A summary of each chapter is provided and linked to the main goal of the book.

The purpose of this paper is to provide a critical reflection on how ongoing revolutionary technological changes can extend the possibilities of accounting into artistic spaces. In addition, arts ability to protest, challenge, open and inspire may be instrumental to humanise technological advances transforming the accounting profession.

This paper draws upon the methodological, theoretical and empirical literature of accounting, technology and art and outlines a research and professional agenda for developing the role of art in the context of accounting and technology.

The authors unravel and navigate the paradoxical “in-between” of art, accounting and technology. It emerges that the transformative power of new technologies lies not only in the technologies themselves but also in their ability to extend the possibilities of accounting into the artistic spaces of visualisation, curation performance and disruption. New technologies, combined with artistic spaces, present a unique ability to open up the latent disruptive potential of accounting itself, pushing accounting in new directions towards more humanistic models of multiple narratives.

The insights of this paper are relevant to open professional and scholarly dialogue that relates accounting, art and technologies during a significant period of disruptive and transformative technological changes. This paper provides new understandings of how art through visualisation, curation, performance and disruption can force accounting researchers and practitioners to challenge the traditionally held views of accounting, opening us towards more futuristic models of accountability.

Creativity is nowadays seen as a desirable goal in higher education. In artistic disciplines, creative processes are frequently employed to assess or evaluate different students' skills. The purpose of this study is to identify potential pitfalls for students involved in artistic practices in which being creative is essential.

Three focus groups involving Education Faculty members from different artistic disciplines allowed for the identification of several constraints when creativity was invoked. This initial study used a quantitative approach and took place in the “Universitat de Vic” (Catalonia, Spain).

Findings suggest a correlation with existing literature and simultaneously point at some nuances that require consideration: emerging aspects embedded in creative processes that may help decrease some limiting effects that being creative can generate.

The main limitations of this research derive from the very nature of the methodological approach. Focus group has been the single used source. Other means of collecting data, such as the analysis of programs, could be used in the future.

This case study, while culturally specific, offers a useful insight into the potential of further work in non-artistic disciplines but crucially across disciplines. It has tremendous value for the development of intercultural understanding in the higher education sector, specifically in terms of assessment.

The purpose of this paper is to examine how mission-driven arts organisations respond to the complex set of economic and social conditions that the authors here term as a significant point of rupture. Drawing on the papers that form a part of the special section of this issue, the authors critically examine how the intersection of globalisation and neoliberalism creates multidimensional uncertainty that shapes the opportunities, responsibilities, work arrangements, and lived experiences of artists and artist-led initiatives and organisations.

In this introduction to the symposium on mission-driven arts organisations and initiatives, the authors explore how the included articles question and introduce key concerns that govern, limit and support mission-driven arts organisations.

Drawing on the papers in this set, the authors note that mission-driven arts organisations are diverse and employ numerous organising forms. However, at their core is the pursuit of social objectives, which also requires the management of often conflicting artistic, economic, cultural and social demands. The authors explicate how mission-driven arts organisations respond to local agendas and work best at the community level. As such, they may not play a key role in tourism or large-scale cultural regeneration of spaces, but rather seek to make creative use of sunken and redundant, often inner city spaces to address local needs. Yet, the uncertainty that these organisations face shapes temporary solutions that may enhance the precariaty and pressures for artists and creative producers with likely impact on wellbeing.

This paper brings together original insights into how mission-drive organisations seek to overcome and indeed flourish in a time of rupture. It moves beyond the notion of cultural regeneration as an instrument of tourism, and tourism as a focus of regeneration, to consider the value such organisations bring to localities evidenced in both creative practices and as local cultural engagement beyond economic impact. In doing so, mission-driven arts organisations play a vital role in a time of rapid change.