Search results

This paper aims to offer a perspective to interpret qualitative data drawing on the introduction of the notion of “embodied practice-based research”.

Drawing on a comprehensive literature review to support a meta-theoretical approach, we developed a theoretical essay.

The body is not only a field of studies but a mean of study as well. The embodied practice-based research is an inquiry style to access the tacit texture of social action and cognition.

Embodied practice-based research may impact qualitative researchers’ education and the way to report methodological proceedings and data report.

The core contribution of the paper is the introduction of a new research style able to change how researchers’ bodies may be used in qualitative management research.

This article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.

The study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.

The analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.

Concentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.

This study aims to explore how people bodily narrate and use collective memory to clarify their embodied experiences regarding a city which they memorise.

Drawing on 1,359 short stories collected by the online travel portal Visit Turku about ‘How the city feels’, the fine-grained embodied experiences of people are represented through descriptions of their feelings towards the city of Turku.

Based on the analysis, two aspects through which the respondents narrated their embodied experiences of cities have been identified: (1) the sociomaterial entanglements with the city and (2) the humane relationship with the city.

This study is limited to short stories acquired online, raising questions of anonymity and representativeness. Thus, these narrations are constructions which have to be interpreted as told by specific people in a certain time and place.

Tourist agencies should pay attention to the value of looking at written stories as bodily materialisations of people’s experiences of city destinations. Understanding this would strengthen the cities’ competitiveness.

By empirically highlighting how people memorise a city through narrations, the study offers novel viewpoints on the embodied experiences in cities as well as the cultural constructs these narrations are based on, thus broadening our understanding of how cities become bodily entangled with us.

Women who use drugs are one of the most maligned, misunderstood and maltreated groups in contemporary culture and society. Despite this, little public outcry nor empathy is given. As a woman who uses drugs, the author examines what lies behind this neglect. A post-structuralist approach is taken in order to examine the categories of meaning assigned to bodies under the twin ruling structures of prohibition and patriarchy. This is done with the intent to better understand and challenge the process of (masculinist) knowledge-making and practices surrounding women who use drugs that treats us as mere objects of knowledge. Furthermore, this chapter draws from feminist auto-ethnography, as the author uses own personal experiences as a woman who uses drugs, a feminist and a drug user advocate as a lens through which to give form to this analysis. Ultimately, the author argue that it is time to let go of outdated, unjust and prejudicial images by challenging established norms and practices, test and apply new theories and negotiate different identities outside of those currently available to women who use drugs. In undertaking this piece, the author hopes that the critical reflections contained within this chapter can ‘cause some trouble’, by being politically useful for the growing movement surrounding women who use drugs.

Sex tourism is well documented in the literature, but what about porn tourism? Whether it is a Ping Pong show in Phuket or the Banana show in Amsterdam, porn and tourism have an encounter and gaze no different from the Mona Lisa in the Louvre or magnificent views of New Zealand’s Southern Alps. The paper aims to discuss these issues.

This paper explores the intersections of tourism, porn and the future as a conceptual framework.

Four intersections are derived from the conceptual framework. Intersection 1, the Future of Tourism, portrays the evolution of tourism and explores its technological future. Interaction 2, Porn in Tourism, distinguishes between soft- and hard-core porn tourism. Intersection 3, Portraying Porn as a Future Dimension, delves into futurism, science fiction and fantasy. The fourth intersection, the Future Gaze, conveys the thrust of the paper by exploring how technological advancement blends with authenticity and reality. Thus the porn tourist seeks both the visual and the visceral pleasures of desire. The paper concludes with four future gazes of porn tourism, The Allure of Porn, The Porn Bubble, Porn as Liminal Experience and Hardcore.

The originality of this paper is that this is the first paper to systematically examine porn tourism beyond sex tourism overlaying with a futures dimension. Porn tourists actively seek to experience both visual and visceral pleasures. Tourism and pornography both begin with the gaze. The gaze is an integral component of futures thinking. Technology is changing us, making us smarter, driving our thirst for liminal experiences. Like the transition from silent movies to talking pictures the porn tourism experience of the future is likely to involve more of the bodily senses.

This study aims to propose a novel concept of choreography as a way of understanding co-creation of value and thus develops the spatial analytical dimensions of co-creation theorising.

This conceptual paper contemplates the meanings and possibilities of leveraging the theoretical underpinnings of value co-creation, from the viewpoint of value-in-experience.

The concept of choreography opens up a way to read knowledge as movement. It enables a way to elaborate on both the phenomenological and non-representational aspects of co-creation processes. Conceptualising co-creation through such a lens, where knowing is seen as an on-going, spatio-temporal and affective process formed in movement, posits opportunities to further understand the value co-creation practices of experiences. Choreography gives access to the kinaesthetic and affective nature of knowing gained in and through different spatio-temporal contexts and can, in turn, be mobilised in others.

Only a few studies have conceptualised co-creation in relation to a spatio-temporal phenomenon. Notably, this study connects co-creation with mobilities and thus constructs a novel view of knowledge and value creation.

Despite the gains that have been made by adopting contemporary theories of practice in entrepreneurship studies, the field still lacks a comprehensive practice theory of entrepreneurial learning. In this article, we develop a practice theory of entrepreneurial learning by elaborating on the relations between practicing, knowing and learning.

Using a video ethnography of a two-day “Startup Weekend for Refugees” event in Amsterdam, our aim is to further theorise the relational, material and embodied nature of entrepreneurial learning through analysing video fragments of naturally occurring practices.

Our findings demonstrate that entrepreneurial learning transpires through, and is emergent from, practices and their relations. On the one hand, practitioners learn to competently participate in various practices by sensing, observing and experimenting with the meaning of others' gestures and utterances. On the other, the learning of new opportunities for value creation emerges as practitioners connect various practices to one another through translation.

This article contributes by illustrating and explaining real-time instances of learning to develop a practice theory of entrepreneurial learning. This contributes to the literature by detailing the relations between learning, knowing and practising entrepreneurship, which leads to a novel alternative to existing individual- and organisational-level learning theories.