Search results1 – 10 of 20
The purpose of this study is to rethink the issue of publicity from a cross-cultural and evolutionary perspective.
Assuming that there is a dominant paradigm in the studies of the public sphere centered on Habermas’ ideas, media theory (and especially Luhmann who is considered as a media theorist) is selected as a new context that provides different concepts, ideas, language games and metaphors that allow the re-foundation of the study of publicity.
Publicity as a social structure emerges – and acquires different forms during history – out of the complex dynamics resulting from the interaction between success media, such as power, and different kinds of dissemination media.
A research into the forms of publicity not only promotes awareness of the ubiquity of the phenomenon across cultural evolution, but also offers tools to make new discoveries and systematize what is already known about the subject and its ramifications.
Based on a critique of reductive understandings of physicality, this chapter explores the significance of embodied materiality, the artefactual physical, the role of the…
Based on a critique of reductive understandings of physicality, this chapter explores the significance of embodied materiality, the artefactual physical, the role of the living body and embodiment in relation to ‘intra and inter’ practices of leadership from a phenomenological perspective. Using a phenomenological and cross-disciplinary approach, issues of an embodied physicality in leadership are systematically explored and implications discussed beyond physicalist empiricism and meta-physical idealism. Furthermore, the chosen phenomenological approach reveals problematising limitations of naturalist and constructionist approaches.
Following Merleau-Ponty an extended understanding of physicality as well as the significance of the co-constitutive role of embodiment, inter-corporeality and intra-action in and of leadership practices in organisational life-worlds are identified and discussed. Insights into the role of corporeal materio-socio phenomena and expressions of meaningful practices of leading and following are rendered. The chapter concludes by noting limitations and implications of embodied physicality and physical inter-becoming of ‘bodiment’ for a more integral and sustainable conception of leader-and followership in organisations. Through its specific post-dualistic approach the chapter provides an innovative perspective on the interrelations between living, material, bodily and embodied dimensions of physicality in leadership.
To discuss two research projects, illuminating the ways in which digital technologies are both enfolded into people’s lives and open up new possibilities for practice…
To discuss two research projects, illuminating the ways in which digital technologies are both enfolded into people’s lives and open up new possibilities for practice that, in turn, have to be managed. To revisit this material to reflect on the benefits and limitations of in-depth interviewing for understanding the dynamics of new textual and visual forms of data in everyday life.
A broadly relational approach to technology and practice was employed, pursued through in-depth interviewing in two research projects about digitization and memory making.
In employing the qualitative method of in-depth interviewing to focus upon what people regularly do, the chapter shows how the material and mediating capacities of networked digital technologies such as cameras and smartphones are enacted and actively negotiated in relation to expectations and conventions about the temporality and visibility of personal life through diverse memory practices. These can be considered multiple ‘practices of adaptation’.
The research reported on provides some novel ways of thinking about devices and data in relation to practice.
The purpose of this paper is to investigate accounting as first visible-sign statement form, and also as the first writing, and analyse its systematic differences…
The purpose of this paper is to investigate accounting as first visible-sign statement form, and also as the first writing, and analyse its systematic differences, syntactic and semantic, from subsequent speech-following (glottographic) writing forms. The authors consider how accounting as non-glottographic (and so “unspeakable”) writing form renders “glottography” a “subsystem of writing” (Hyman, 2006), while initiating a mode of veridiction which always and only names and counts, silently and synoptically. The authors also consider the translation of this statement form into the graphs, charts, equations, etc., which are central to the making of modern scientific truth claims, and to remaking the boundaries of “languaging” and translatability.
As a historical–theoretical study, this draws on work reconceptualising writing vs speech (e.g. Harris, 1986; 2000), the statement vs the word (e.g. Foucault, 1972/2002) and the parameters of translation (e.g. Littau, 2016) to re-think the conceptual significance of accounting as constitutive of our “literate modes” of thinking, acting and “languaging in general”.
Specific reflections are offered on how the accounting statement, as mathematically regularised naming of what “ought” to be counted, is then evaluated against what is counted, thus generating a first discourse of the norm and a first accounting-based apparatus for governing the state. The authors analyse how the non-glottographic statement is constructed and read not as linear flow of signs but as simulacrum; and on how the accounting statement poses both the practical issue of how to translate non-linear flow statements, and the conceptual problem of how to think this statement form’s general translatability, given its irreducibility to the linear narrative statement form.
The paper pioneers in approaching accounting as statement form in a way that analyses the differences that flow from its non-glottographic status.
The purpose of this paper is to analyze the role of embodied dimensions and relational possibilities of (serious) play at work. It shows how a phenomenological and…
The purpose of this paper is to analyze the role of embodied dimensions and relational possibilities of (serious) play at work. It shows how a phenomenological and processual approach can help in developing an integral understanding of (serious) play and its paradox in relation to work and practical wisdom and professional artistry in organizations.
Based on the literature review and phenomenology, the role of embodied dimension, and the nexus of playful practitioners, practices and playgrounds are discussed. Systematically, then the concept of “inter-playing” is proposed as a specific embodied and processual practice. Subsequently, the in-between is shown to be a medium and transrelational nexus for (serious) play that allows a more comprehensive understanding and implications.
Based on the phenomenological and relational approach, the concept of (inter-)play allows an extended understanding of serious play and its paradox as a form of an inter-practice. The mediating in-(ter-)between is revealed as decisive for playful practices and playgrounds in organizations. Serious play is linked to practical wisdom and professional artistry in organizations.
Specific theoretical and methodological implications for exploring and enacting play are offered. It is suggested to take research itself as a form of inter-practice and to enact a more integral epistemology and methodological pluralism, including body-related and art-based approaches and critical issues.
Some specific practical implications are provided that facilitate and enable embodied play and play-spaces in an ongoing, arts-based learning and development process in organizational and educational contexts.
The corporeality of responsive inter-play is seen as connected to sociality and social interaction as self and others are considered as a nexus. In particular, poetic phrónêsis in professional playful practice is linked to social creativity that includes attention and recognition of others and otherness as well as social inclusivity.
By extending the existing discourse and using an embodied approach, the paper proposes a novel orientation for re-interpreting serious play. Equally, it offers the new processual concepts of inter-play and inter-practice that allow more explorations and connections to discourses and practices of phronesis and art(istry).