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Grounded in experience of co-organizing a two-day photography-based workshop in Paris, this paper explores how photo-dialogues can facilitate anti-racist pedagogy and generative discussions about how race and racism function in marketplace contexts.

This paper draws on the authors' involvement in a cross-national and cross-disciplinary team of scholars who worked with local community stakeholders—including activists, artists and practitioners—to discuss, theorize and photo-document issues regarding race and racism in the Parisian marketplace.

This paper contributes to the literature on visual culture studies and critical race studies as it demonstrates the potentials of photography combined with dialogue to challenge the White supremacy over archiving and visuality in the context of urban spaces. This new methodology is an opportunity to reflect on archetypes of visuality that depart from the traditional Parisian flâneur to be consistent with and reinforce anti-racist stances.

Photography and visual methods often play peripheral roles in anti-racist education across various disciplines and research areas, including critical marketplace studies. This paper expands understanding of the potentials of using photographic methods as part of critical and anti-racist work related to racial and racist dynamics, including issues regarding power, White supremacy and public space. It outlines the use of photographic dialogues in a context (Paris, France) where discussion of race is regularly societally discouraged. Thus, this work shifts the focus away from decontextualized research that regards race as an object, to specifically foreground understandings of racialized experiences and how the photographic gaze produces and is produced by racialized viewers.

Visuals are a crucial part of strategizing, whether it be through the use of body gesture, the crafting of strategy presentations, or the use of new media technologies from videoconferencing through to data visualization. Yet studying these aspects of the strategy process is methodologically challenging and requires careful attention to how the data is collected and what questions the data analysis can address. In this chapter, we lay out choices for scholars and the opportunities these afford to new and promising agendas in strategy and management research.

This study investigates the key factors that influence customer satisfaction when interacting with augmented reality shopping assistance applications (ARSAPs). ARSAPs grant consumers the capability to experience products in a virtually simulated user environment before product acquisition. With the development of mobile e-commerce due to breakthroughs in smartphone and augmented reality (AR) technologies, there is an increasing potential for these emergent AR mobile services, yet there is a need for further improvement.

This study initially explored the key satisfaction factors for ARSAPs by utilizing topic modeling of a collection of actual user reviews. These factors are subsequently revisited and complemented by existing literature, and finally verified through logistic regression analysis supported by sentiment analysis.

This study identified the key factors that influence customer satisfaction with ARSAPs, including visuality, sense of reality, credibility, format, completeness, understandability, relevance, flexibility, response time, reliability, availability, ease of use and privacy. In particular, two additional factors (i.e. visuality and sense of reality) were newly identified as important in the context of AR, despite their previous omissions in existing literature.

This study is the first to investigate the key factors that influence customer satisfaction with ARSAPs from users' perspectives, utilizing topic modeling of a large amount of real-world data on actual user feedback. By identifying new factors (i.e. visuality and sense of reality) that were not identified in previous literature, this study provides important academic implications for a broader understanding of AR and related technologies that are essential elements of the metaverse. This study also provides valuable insights for developers and companies in the e-commerce industry on how to optimize AR applications and develop more targeted and effective marketing strategies in this field.

The purpose of this paper is to appraise the impact of mobile shopping platform characteristics on consumer’s emotions, the relationship between emotions and their impact on impulsive buying.

Mobile shopping platform characteristics were grouped into five dimensions: information, entertainment, personalization, visuality and economic benefits, and integrated in a model built on the Stimulus-organism-response theory to evaluate the influence on arousal (excitement) and pleasure, the relationship between arousal and pleasure and their impact on impulsive buying. In total, 303 valid questionnaires were collected from Chinese mobile shoppers. The research hypotheses were tested through confirmatory factor analysis and structural equation modeling.

Entertainment and personalization had significant positive influences on consumer’s arousal and pleasure. Information, visuality and economic benefits had significant positive influences on consumer’s arousal. Arousal had a significant positive impact on consumer’s pleasure. Arousal and pleasure had significant positive influences on impulsive buying.

New insights can be obtained by investigating other consumer’s profiles. The model can be improved by including other mobile platform characteristics (product availability, platform ease-of-use and interactivity) and broadening the impulsive buying perspective through assessing flow experience and virtual atmosphere.

Marketing strategies are proposed based on the mobile platform characteristics and considering Chinese customer values, for generating positive emotions and impulsive buying.

This study enriches the literature by recommending a classification for mobile shopping platform characteristics and proposing a model to investigate the characteristics, emotions and impulsive buying nexus.

The purpose of this paper is to develop a visual perspective to the narrative management research by exploring the potential of drawings to construct organizational space. This study is explorative in nature and aims to open up a discussion on the importance of visuality within the narrative research. Visual narratives combined with written ones are constructed and analyzed in the paper.

The empirical illustrations of visual narratives outline students’ first-time encounters of the university campus. Their drawings and stories are used to describe and analyze their personal and subjective experiences of how they relate to the campus space. The students were asked to recall the moment they encountered the university campus for the first time and to draw their memories on a paper. Furthermore, they were asked to describe the drawings in a written narrative. Following that, the storyline was identified through a content analysis of both the drawings and the written narratives. This participatory research approach considers informants as co-researchers in producing data and emphasizes the inter-subjective nature of the study.

The study points out valuable aspects in visual narrative organization research. The drawings and written narratives were found to complement each other revealing different things of the experiences. The drawings were very rich and detailed. They captured and revealed emotions, symbolic meanings and interpretations that were not explicated in the written stories. Finally, categories of visual narratives on organizational space were developed.

This study contributes to the development of visual methodology in narrative management research. Moreover, this paper provides a methodological contribution to study organizational space. It sheds light on the potential of using visual narrative materials, especially self-produced drawings to construct organizational space. The study develops and illustrates a visual research method that combines written narratives with drawings. The study points out the importance to involve the informants as co-creators of a narrative study to capture the emotional richness of visual narratives. The authors envision that visual aspects of narratives will be a future direction in the narrative research, because visuality may capture hidden emotional aspects, symbols and artifacts that are not easily revealed in the told or written stories.

Seeking an answer to the question “how does organizational identity change?” we analyze the visual identity marker of universities, namely logos, as time-related artifacts embodying visual scripts. Engaging with the Stinchcombe hypothesis, we identify five processes to the creation of visual identities of organizations: In addition to (1) imprinting (enactment of the contemporary script) and (2) imprinting-cum-inertia (persistent enactment of epochal scripts), we also identify (3) renewal (enactment of an up-to-date epochal script), (4) historization (enactment of a recovered older epochal script), and (5) multiplicity (simultaneous enactment of multiple epochal scripts). We argue that these processes work together to produce contemporary heterogeneity of visualized identity narratives of universities. We illustrate this, first, with a survey of the current-day logos of 814 university emblems in 20 countries from across the world. Second, drawing on archival and interview materials, we analyze the histories of exemplar university logos to illustrate the various time-related processes. Therefore, by interjecting history – as both time and process – into the analysis of the visualization of organizational identity, we both join with the phenomenological and semiotic analysis of visual material as well as demonstrate that history is not merely a fixed factor echoing imprinting and inertia but rather also includes several forms of engagement with temporality that are less deterministic. Overall, we argue that enactment engages with perceptions of time (imaginations of the past, present, and future) and with perceptions fixed by time (epochal imprinting and inertia) to produce heterogeneity in the visualization of organizational identity.

The domain of study on mediated suffering is ensconced within an Orientalist paradigm which ideologically structures our visuality and gaze. The consignment of suffering through bodies of alterity and the geo-politics of the Global South encodes the coloniality of power as a dominant reading. It then naturalizes the West as the voyeur in its consumption of the abject bodies of the Global South. Creating a binary through this East-West polarization in the oeuvre of suffering as a realm of study, it creates the hegemony of the West as the moral guardian of suffering, imbuing it with the right to accord pity and compassion to the lesser Other. Beyond elongating the Orientalist trajectory which lodged the body politic of the Global South as a sustained ideological site of suffering, it hermeneutically seals the East as irredeemable, ordaining it through the gaze over the Other as a mode of coloniality. In countering this Eurocentric proposition, this chapter contends that this coloniality of gaze needs further rumination and new sensibilities in the study of mediated suffering, particularly following 9/11 and the shifting of the geo-politics of suffering in which the West is dispossessed through its own manufactured ideologies of the ‘War on Terror’ such that it is under constant threat of terrorist attacks and through the movement of the displaced Other into the Global North. Besieged and entrapped through its own pathologies of risks and threats, the West is projected through its own victimhood and the politics of the Anthropocene within which risks are seemingly democratized by environmental degradation as an overarching threat for all of humanity. Despite these shifts in the global politics, the scholarship of suffering is locked into this polarity. The chapter interrogates this innate crisis within this field of scholarship.

The purpose of the paper is to explore the potential of visual cultural studies (VCS) to inform and extend research on “accounting and the visual”.

A VCS framework is utilized: to draw together and organize work on “accounting and the visual”; and to illustrate how concepts and empirical studies from VCS can develop and extend accounting research.

The “visual culture turn” in the social sciences has generated considerable theorizing and empirical research pertinent to accounting research. In particular, it can deepen studies of accounting visuality – accounting's visibilities, invisibilities and ways of seeing – and stimulate new imag(in)ings.

The paper introduces accounting researchers to questions, topics, concepts and debates in the VCS field and illustrates how accounting and VCS research can mutually inform each other and foster interpretive/critical accounting projects.

VCS can frame studies of “accounting and the visual” (i.e. affirm it as a distinct field, with rich interdisciplinary connections) with implications for developing and extending accounting research.