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This study aims to explore the concepts of ‘place' and ‘place-experience' within the context of Post-phenomenology. During 70's, humanistic geographers have introduced ‘phenomenology of place' as a revolutionary approach toward place, which has been largely condemned by Marxist, Feminist and Post-Structural critiques through the last three decades. Accordingly, this study attempts to merge these place-related critiques in order to clarify a new framework titled ‘Post-phenomenology of place'. ‘Post-phenomenology', as a novel philosophical trend, is a merged school of thought, trying to re-read phenomenology based on Post-structuralism, Pragmatism and Materialism. In this study after a theoretical review on the formation of Post-phenomenology, the various aspects of place are discussed in order to clarify distinctions and paradoxes between phenomenological and Post-phenomenological understandings of place.

Although the epistemology of researcher reflexivity has been championed as crucial to research for some 30 years, it remains controversial and often ill-defined. In the 1980s, “reflexivity” was championed by the hermeneutically and epistemologically savvy to try and break the strangle hold of naïve positivism. Nowadays, reflexivity most often refers to the turn-to-affect and to the researcher’s ability and willingness to radically sensitivize “self” to others and circumstances. The purpose of this paper is to specify what non-representational research has brought to the reflexivity debate and then focus on Brosseau’s particular rendition of reflexivity, which is seen as far more demanding, problematic and valuable.

The approach followed in this paper is a hermeneutic reflection based on Thrift’s and Brosseau’s oeuvres. The perspective is historical, qua research methods’ take on reflexivity and qua Brosseau textual production.

Five differences between Thrift’s and Brosseau’s reflexivities are highlighted. Brosseau brings us much further in applying affective reflexivity to research writing than does Thrift.

A polemic calling for and warnings about the complexities of affective reflexivity, presented as demanding, dangerous and complex.

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.

Affect is relevant for organization studies mainly for its potential to reveal the intensities and forces of everyday organizational experiences that may pass unnoticed or pass in silence because they have been discarded from the orthodoxy of doing research “as usual.” The paper is constructed around two questions: what does affect “do” in a situated practice, and what does the study of affect contribute to practice-based studies. This paper aims to discuss these issues.

The authors chose a situated practice – interviewing – focusing on the dynamic character of the intra-actions among its heterogeneous elements. What happens to us, as persons and researchers, when we put ourselves inside the practices we study? The authors tracked the sociomaterial traces left by affect in the transcript of the interviews, in the sounds of the voices, in the body of the interviewers, and in the collective memories, separating and mixing them like in a mixing console.

The reconstruction, in a non-representational text, of two episodes related to a work accident makes visible and communicable how affect circulates within a situated practice, and how it stiches all the practice elements together. The two episodes point to different aspects of the agency of affect: the first performs the resonance of boundaryless bodies, and the second performs the transformative power of affect in changing a situation.

The turn to affect and the turn to practice have in a common interest in the body, and together they contribute to re-opening the discussion on embodiment, embodied knowledge, and epistemic practices. Moreover, we suggest an inventive methodology for studying and writing affect in organization studies.

This study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms.

This study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities.

TAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms.

Both studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning.

This work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.

The purpose of this paper is to demonstrate how the work of Deleuze and Guattari can help place marketers to think differently about places and place brands.

This is a conceptual paper that draws together a range of resources to develop a Deleuzoguattarian approach to place marketing.

Deleuzoguattarian thinking helps place marketers to reconceptualise places as “becomings”, which in turn encourages them to look between, beneath and beyond their usual foci. The Deleuzoguattarian spirit of critical-creativity is also noted, encouraging readers to develop the ideas presented here in new directions.

This paper expands the epistemological imagination of place marketing scholars to consider the places between their place brands, the subconscious influences beneath the surface of salience and phenomena beyond the anthroposcale of everyday experience. This enriches existing conceptualisations and extends place marketing with several new areas of enquiry that can be empirically elaborated through future research.

This paper helps place marketing practitioners to consider and respond to the flows of matter–energy that influence their place brands between, beneath and beyond their intentional management practices.

This paper develops critical schools of thought within the place marketing literature, providing some suggestions about how to develop and manage more inclusive place brands. This may also have implications for activists and others seeking societal improvements.

This paper develops a Deleuzoguattarian approach to place marketing, stimulating new lines of inquiry and experimental practices.

The purpose of this paper is to explore a visual method, snaplog (snapshots and logbooks) from a performativity theory approach.

The paper uses empirical examples from a three‐year qualitative research project where snaplogs are used as an experimental method. The paper presents a reading of performativity theory and discusses the performativity of using visual methods in the research process.

The paper concludes that visual methods have a special ability to activate the field in a way that avoids preconceived ideas, and creates possibilities to observe the researched phenomenon and how it practices, resists and revoices the questions asked by the researchers.

The paper explores and discusses the authors’ experiences and reflections on the positioning and scope of using snaplogs as a visual method. It does not report a systematic evaluation of its implications.

Snaplogs offer the researcher the possibility to activate and cooperate with the researched phenomenon.

The potential value of the paper is that it offers inspiration to organization researchers looking for innovative/performative research methods.

This study aims to examine the multisensory experiences of participating in a cooking class and how they shape perceptions of destinations in the pre-trip stage. Performance theory and prosumption provide a theoretical lens to investigate how a cooking class influences the pre-trip destination sensescape.

This study used participatory action research consisting of an immersive Tatarstan cooking class experience with the supporting materials of music and videos, focus group discussions and participant observations.

Cooking class participants prosume local culture and (re)construct the perceptions of Tatarstan by partaking in cooking classes through a multisensory experience. The pre-trip destination sensescape formation in the cooking class is dynamic, stimulating and memorable. With active engagement in co-creating in the process, such experience significantly strengthens and reshapes the perceptions of a destination.

Cooking classes can be leveraged in pre-trip marketing as a tool to enhance the competitiveness of tourism destinations and contribute to accessible tourism, such as engaging visually impaired tourists’ other heightened senses in experience design and marketing.

This study revealed that participation in cooking classes involves active, embodied and multisensory engagement, which acts as a vehicle of the destination perception change.

This study aims to investigate consumers’ construction of food localness through the politics of belonging in a regional context.

Following a socio-spatial lens and considering the “realm of meaning” of place, this research focusses on local consumers’ lived meanings of “local” food choice, and hence adopts a phenomenological approach to the data collection and analysis of 20 in-depth interviews with residents of the Italian region of Marche.

Drawing on Trudeau’s (2006) politics of belonging, this study reveals three interconnected themes which show how local consumers articulate a local food “orthodoxy” and how their discourses and practices draw and maintain a boundary between local and non-local food, whereby local food is considered “autochthonous” of rural space. Thus, this study’s participants construct a local food landscape, conveying rural (vs urban) meanings through which food acquires “localness” (vs non-“localness”) status.

There exists further theoretical opportunity to consider local consumers’ construction of food localness through the politics of belonging in terms of non-representational theory (Thrift, 2008), to help reveal added nuances to the construction of food localness as well as to the complex process of formulating place meaning.

The findings provide considerable scope for food producers, manufacturers and/or marketers to differentiate local food products by enhancing consumers’ direct experience of it in relation to rural space. Thus, enabling local food producers to convey rural (vs urban) meanings to consumers, who would develop an orthodoxy guiding future choice.

The findings enable regional promoters and food policymakers to leverage the symbolic distinctiveness of food autochthony to promote place and encourage consumers to participate in their local food system.

By using the politics of belonging as an analytical framework, this study shows that the urban–rural dichotomy – rather than being an obsolete epistemological category – fuels politics of belonging dynamics, and that local food consumers socially construct food localness not merely as a romanticisation of rurality but as a territorial expression of the contemporary local/non-local cultural conflict implied in the politics of belonging. Thus, this study advances our theoretical understanding by demonstrating that food “becomes” local and therefore, builds on extant food localness conceptualisations.

The purpose of this paper is, first, to assess the potential of the visual to enact multiplicity and reflexivity in organizational research, and second, to develop a performative approach to the visual, which offers aesthetic strategies for creating future research accounts in organization and management studies.

The paper reviews existing visual research in organization and management studies and presents an in‐depth analysis of two early, almost classical, and yet very different endeavors to create visual accounts based on ethnography: the multi‐media enactments by Bruno Latour, Emilie Hermant, Susanna Shannon, and Patricia Reed, and the filmic and written work by Trinh T. Minh‐ha and her collaborators.

The authors’ analysis of how the visual is performed in both cases identifies a repertoire of three distinct and paradoxical aesthetic strategies: de/synchronizing, de/centralizing, and dis/covering.

The authors analyze two rarely acknowledged but ground‐breaking research presentations, identify aesthetic strategies to perform multiplicity and reflexivity in research accounts, and question the ways that research accounts are written and published in organization and management studies by acknowledging the consequences of a performative approach to the visual.