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Using oceanographer Rachel Carson's study The Edge of the Sea (1955) to contextualise tidal spaces, this chapter discusses how constantly shifting and eroding coastlines act as a site for writing, re-writing and performing acts of cultural and personal memory. It also considers the ecological impact of human activity on tidal spaces and their more-than-human inhabitants.

14-18 NOW's Pages of the Sea, directed by Danny Boyle, invited communities around the United Kingdom to meet on their local beach to commemorate those who were lost in World War I by marking portraits in the tidal sands. Choreographer Chloë Smith's Tidal, performed in Berwick-upon-Tweed in 2015, was commissioned as a commemorative work but became an act of personal memorialising when Smith's brother drowned prior to the event. Performance company Curious's Out of Water (2012–2014), invites participants on a dawn-walk to the shoreline exploring memory, time, genealogy and water through song and movement. My own collaborative site-responsive work, Tide Times (2018), created with electroacoustic composer Tim Cooper for the tidal island of Cramond, explores the multiple identities of place over time. Tide Times encouraged audiences to create their own tidal poems and artworks through a series of invitations in treasure chests hidden around the island.

In explicating these aforementioned artworks, which explore ideas of remembrance using tidal spaces, this chapter will also acknowledge the forgetting that is implicit in performing these actions. What can the legacy of commemorations traced in such a transient and precarious space as a tidal zone be? This chapter argues that while shorelines provide sites for large and small scale acts of public remembering, they are simultaneously acts of forgetting as the twice daily tides cause inevitable erasure.

In the context of worker–firm complementarities, the extant literature has focused primarily on worker–firm dyads that generate additional revenue for the firm. However, we extend the study of worker–firm complementarities by examining matches that create value through the generation of additional nonpecuniary utility for employees. Through this lens, we hypothesize that mobile employees will receive lower wages to offset the benefits they receive from these nonpecuniary complementarities. Further, we hypothesize that star employees who create unique revenue-generating complementarities receive higher wages than otherwise predicted as they can capture a share of the additional revenue they generate. We test this conceptualization using panel data on all US National Basketball Association players from 2000 to 2009. We demonstrate that NBA players accept lower than predicted wages to play for their home teams which reflects worker utility-generating complementarities. We also show that superstars receive higher than predicted wages to play for their home teams, consistent with firm revenue-generating complementarities.

Law and Film both enjoy the power to mediate the social imaginary. Here, we explore the resonance of this insight in the register of affect and intensity, movement, and change. This demands a different approach to doing theory. As Andrew (1976, pp. 66–67) argues, ‘film is not a product but an organically unfolding creative process in which the audience participates both emotionally and intellectually.’ Seeing a film is not just an exercise in imagining alternatives; it is an unfolding experience in time. It is an event shaded with particular embodied dimensions: one's heart races, pupils contract, skin shivers, muscles tense. Involuntary sensations of nausea or vertigo combine with cognitive responses to produce the lived experience of viewing a particular film that is incorporated into one's sensibility, sometimes very powerfully. It is not just that the mind has spent time in a darkened theatre. The body has also had an affect-laden auditory, visual, and tactile encounter. The affect-rooted experience of the film is a piece of the subject's past, its history, its self. This is another way to understand how film not only represents the world, but participates in its making.

Organizational scholars have long been interested in how jazz musicians manage tensions between structure and freedom, plans and action, and familiarity and novelty. Although improvisation has been conceptualized as a way of managing such paradoxes, the process of improvisation itself contains paradoxes. In this essay, we return to jazz improvisation to identify a new paradox of interest to organizational scholars: the paradox of intentionality. To improvise creatively, jazz musicians report that they must “try not to try,” or risk undermining the very spontaneity that is prized in jazz. Jazz improvisers must therefore control their ability to relinquish deliberate control of their actions. To accomplish this, they engage in three interdependent practices. Jazz musicians intentionally surrender their sense of active control (“letting go”) while creating a passive externalized role for this sense of active control (using a “third ear”). Letting go allows new and unexpected ideas to emerge, while the metaphorical third ear can identify promising ideas or problematic execution and, in doing so, re-engage active agency (“grabbing hold”). Examining the practices within creative improvisation reveals the complexity of the lived experience of the paradox, which we argue suggests further integration among organizational research on improvisation, creativity, and paradox.

A social studies teacher shared the unique experience of leading one of the most profound changes in the culture of a junior high school. This manuscript includes the context of the work that had a significant impact at a Western New York junior high school. Moreover, pragmatic strategies and approaches to enhance school climate in any school are expanded upon.

As the First Lady, Michelle Obama stated that she had a number of priorities but that the first year would be mainly about supporting her two girls in their transitions to their new life in the White House. Her choice to be mom-in-chief drew unusually intense and rather puzzling, scrutiny. The chapter briefly discusses the range of reactions along the political spectrum as well as African-American feminists’ analyses of the stereotypes of Black women underlying those reactions. This analysis engages the debates from a different perspective. First, the chapter addresses the under-theorizing of the racialized gender norms embedded in the symbolism of the White House and the role of First Lady. It challenges the presumption of traditional notions of true womanhood and the incorrect conclusion that mothering would preclude public engagement.

Second and most importantly, this chapter argues that there are fundamental misunderstandings of what mothering meant for Michelle Obama as African-American woman. Cultural traditions and socio-historical conditions have led Black women, both relatives and non-kin, to form mothering relationships with others’ children and to appreciate the interdependence of “nurturing” one's own children, other children, and entire communities. Those practitioners whose nurturing activities encompassed commitment and contributions to the collectivity were referred to as community othermothering. Using primary sources, this chapter examines in detail Michelle Obama's socialization for and her practice of community othermothering in her role as First Lady. Attention is focused on her transformation of White House events by extending hospitality to more within Washington, DC, and the nation, plus broadening young people's exposure to inspiration, opportunities, and support for setting and accomplishing their dreams. Similarly, the concept of community othermothering is also used to explain Michelle Obama’s reinterpretation of the traditional First Lady's special project into the ambitious “Let's Move” initiative to end childhood obesity within a generation. The othermothering values and endeavors have helped establish the White House as “the People's House.”

The contours of the question of transmission or jurisdiction receive a particularly sharp delineation in a recent judgment from the annals of contempt of court. How can the solicitor scandalise the court, without destroying the law? Consider Anissa v Parsons. It involves the doctrine of contempt by scandalising – the most feudal of the three legally recognised types of contempt used to keep “the streams of justice clear and pure.”⁵ And the question that the judgment confronts is the technical and representational ordering of law, and specifically the articulation and disarticulation of two orders – that of the court and that of law.