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This research aims to examine and understand the rationales and modalities behind the use of disclosure before, during and after a corporate governance scandal involving CPA Australia (CPAA).

Data beyond CPAA's annual reports were collected, such as news articles, media releases, an independent review panel (IRP) report, and the Chief Operating Officer's letter to members. These disclosures were manually coded and analysed through the word counts and word trees in NVivo. This study also relied on Norbert Elias' conceptual tool of power games among networks of actors – figurations – to model the scandal as a power game between the old Board, the press, concerned members, the IRP and the new Board. This study analysed the data to reveal a collective and in fieri power balance that changed with the phases of the scandal.

A mix of voluntary, involuntary, requested and absent disclosures was important in triggering, managing and ending the CPAA scandal. Moreover, communication and disclosure fulfilled a constitutive role since both: mobilised actors, enabled coordination among actors, contributed to pursuing shared goals and influenced power balances. Such a constitutive role was at the heart of the ability of coalitions of figurations to challenge and restore the powerful status quo.

This research introduces to accounting studies the collective and in fieri dimensions of power from figurational theory. Moreover, the research sheds new light on using voluntary, involuntary, requested and absent disclosures before, during and after a corporate crisis.

The purpose of this paper is to present researcher's reflexive writing about emergent events in research collaborations as a way of responding to the process-figurational sociology of Norbert Elias in the practice of organizational ethnography.

Drawing parallels between Norbert Elias' figurative account of social life and auto-ethnographic methodology, this paper re-articulates the entanglement of social researchers in organizational ethnographic work. Auto-ethnographic narration is explored as means to inquire from within the emerging relational complexity constituted by organizational dynamics. Writing about emergent events in the research process becomes a way of inquiring into the social figurations between the involved stakeholders; thus nurturing sense-making and increasing the awareness and sensitivity of the researcher to her own entanglement with the relational complexity of the organization under study.

In the paper, we argue that the writing of auto-ethnographic narratives of emergent field encounters is a process of inquiry that continuously depicts the temporal development of the relational complexity in organizations. Viewing that from the perspective of Elias' concept of figuration, we find a common commitment to the processual nature of research processes, which insists on moving beyond objectifying empirical insights.

This paper encourages awareness of the interdependency between ourselves as social researchers and field actors as we engage with the field. It moves beyond simplifying the ethnographic research agenda to that of “studying” and “describing” organizations. It offers unique insights into the organizational context, and increased sensitivity toward the social entanglement of the experiences that we, ourselves, as researchers are part of.

Ample literature has demonstrated that workers in the creative industries are excluded in terms of gender, race and class. Fewer studies, however, have examined the career advancement challenges faced by creators with disabilities. Drawing on insights from the established-outsider theory, this study aims to fill this lacuna.

The participants were 24 creators in the Israeli film and television industries (FTIs) contending with severe forms of mental or physical and sensory impairment. In-depth semi-structured interviews were conducted to explore practitioners’ conceptions of the challenges they face in making careers in the FTI, as well as how they contend with these challenges.

Intergroup dynamics yield an established-outsider figuration that situates creators with disabilities in a marginal occupational position in the FTI. Creators with disabilities' lack of access to networks of prominent creators place them in a disadvantageous position in the ongoing struggles over scarce resources in the FTI. The structural features of the FTI, which are intertwined with the social mechanisms of stigmatization and exclusion, make it difficult to breach any figuration once established. In defiance of their occupational figuration, creators with disabilities utilize two tactics aimed at professional advancement: hyper-meritocracy and advocacy. These tactics yield only partial success.

This study does not represent the voices of decision-makers in the film and television industries in Israel.

Implications are suggested regarding the role of culture funds as well as policymakers in advancing workforce diversity and opportunity in the film and television industries.

This study addresses covert and unspoken barriers to equality in the creative workforce. The findings also shed light on the impact of the COVID-19 pandemic on workforce diversity and opportunity in the FTI.

The aim of this paper is to use the lens of figurational sociology to analyse the learning networks of physical education (PE) associate teachers (ATs) in England. More specifically, it aims to develop a more adequate understanding of who is involved in the learning networks and how they influence ATs during their one-year postgraduate initial teacher education (ITE) programme.

A total of 35 ATs within a university ITE partnership took part in the study during the final phase of their postgraduate programme. Questionnaires and semi-structured interviews were used to examine the nature and impact of the interdependent relationships that they had developed with other individuals and groups. A process of content analysis was used to identify and analyse patterns in the data.

Mentors have the most influence over ATs. They support the inclusion of the ATs within the PE department, but elements of the mentors' role are contradictory and can unintentionally hinder the ATs' teaching. Mentors, teachers and tutors also share a common social habitus that ensures a degree of conformity within the PE community. New experiences tend to reinforce ATs' existing beliefs about the nature and practice of teaching PE.

These findings have implications for providers of ITE in deciding who is involved in mentor training and how it is approached. If ATs are to be introduced to more innovative teaching approaches that promote change, then tutors need to collaborate with mentors and teachers to develop awareness of their often-unplanned influence.

Applying the distinctive, and more generally sociological, concepts that make up the figurational perspective helped to develop a more adequate understanding of the ATs' learning networks. It provided an insight into the changing relationships that ATs have with their mentors and other individuals who work within the school and university context.

The aim of this paper is to answer the question: how can judgment about good and bad behavior of a device or service under development be included in the development process?

By distinguishing between detached good/bad judgment, called “ethics of the eye”, and judgment about good and bad behavior embedded in doing and dialogue, called “ethics of the hand”, two examples of designer judgment are examined, one embedded and one detached. The outcome is explained by means of an application of Ricoeur's hermeneutics, where he shows how narration comprises pre-figuration, con-figuration and re-figuration. An examination of collaborative prototyping in Krzysztof Wodiczko's work on building a vehicle together with homeless people in Manhattan, New York, is contrasted with an example of the detached evaluation of use in Joseph Weizenbaum's account for use of his computer therapy program Eliza.

The difference is identified as the difference between joint making and dialogue, resulting in re-configuration, and detached evaluation, which sticks with the pre-figuration. The paper concludes that for engineering and design at large “ethics of the hand”, the collaborative doing and dialogue, where the engineering and the designerly way of understanding come together over a prototype, brings out a shared frame, which makes ethics an integrated part of the development process.

The paper discusses how judgment about good and bad behavior of a device or service under development can be included in the development process and shows that the answer is collaborative prototyping.

Prior to implementing computerised pattern alterations for figuration on a commercial CAD system, a large database with reference to the standard graded patterns, the alteration movements and relevant information needs to be generated. There are many difficulties in creating grade rules and alteration movements, especially for the bust suppression and the shaped sleeve. In order to obtain sophisticated patterns with a good fit for MTM (made‐to‐measure) clothing, the authors' pattern alteration technique is a combination of pattern design construction and grading. The procedure is divided into ten stages and the practical verification was carried out in the form of seven case studies. In addition, drafting rules on the MicroFit system for automatic pattern generation are demonstrated by converting the numerical grade rules created on the GGT AccuMark system into body‐related formulae.

Since the establishment of ecocriticism, the traditional Western dualistic categories of spaces and places have become objects of increasing pluralistic refigurations in light of the challenges posed by current environmental crises. More and more scholars have discussed how rooted dichotomies, including country/city and nature/culture, should be reconsidered for better acknowledging the sense of connectedness occurring between humans and the surrounding nonhuman world. Consequences of this approach in literary and cultural studies have been pivotal: new environmentally oriented hermeneutic practices have developed, which allow for reevaluating phenomena linked to old-fashioned understandings of the natural world. Among them, the pastoral, traditionally conceived as the contrast between the rural and the urban, has been reexamined by ecocritics through new concepts, starting from the “post-pastoral” (Gifford, 1999). By stressing the investigation of the relationship between the human and the environment in pastoral representations, the post-pastoral has become a favorable tool (Gifford, 2006) for enhancing ethical considerations in response to the challenges posed by the Anthropocene.

This transdisciplinary chapter is also inspired by “geocriticism,” which reflects on how literary narratives influence spatial practices in the real, material world. Specifically, this chapter discusses how the neologism “cittagna” – blending the Italian terms città (city) and campagna (country) – which first appeared in Stefano Benni's novel Prendiluna (2017), allows critics to reflect on the development of similar combinatory processes in contemporary urban spaces. When considering this process in parallel with the notion of post-pastoral, “cittagna,” becomes a useful concept for observing how, in current cityscapes, the emergence of new spaces and places negotiates the conventional country/city split, while highlighting the sense of intertwining between the two terms. Hence, attention is placed on how two possible examples of rising “cittagnas” – roof gardens and off-leash dog parks – can be read as evidence of the increasing attentiveness toward issues of human-nonhuman relationality in today's urbanism, which becomes a hope on the horizon for facing current environmental concerns.

This paper introduces the concept of posthuman co-production. It explores how processual and relational onto-epistemologies inform an artful, response-able (Barad 2007) feminist new materialist praxis that decentres the human and re-centres matter.

Posthuman co-production gives prominence to crafting “dartaphacts” (Renold, 2018); creative research artefacts, carrying “what matters” and enacting change that can be mapped across time and multiple “problem spaces” (Lury, 2020), as an expansive, post-qualitative praxis of slow, co-production.

The paper stories this praxis across three “fugal figurations” providing glimpses into the post-qualitative journeys of assembled dartaphacts in the policy and practice field of relationships and sexuality education (RSE) in Wales. Each fugue hints at the polytical, resourceful and living potential of dartaphacts in the making and their mattering over a period of six years. Collectively, they chart a rhizomatic journey that re-configures co-production as a response-able, becoming-with what matters.

As more-than-human forces for change, dartaphacts continue to surface “the cries of what matters” (Stengers 2019) for children and young people well beyond the periods of funded research and engagement, giving new meaning to the sustainability and material legacies of research impact.