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The prevalence of body art is on the rise; particularly among college age persons. This study aims to use group norms theory (GNT) and the justification‐suppression model of the expression of prejudice to examine the impact of body art such as tattoos and piercings on ratings of acceptability by co‐workers.

In a full‐factorial two‐by‐two scenario‐based experiment the authors manipulated the presence or absence of face‐to‐face customer contact and the interdependency of the distribution of rewards.

After controlling for participants' own tattoos and piercings, impression management, openness‐to‐experience, and agreeableness, the authors have found that an inside sales job and independent rewards are significantly positively related to acceptability but that their interaction was not.

The limitations of this study include the fact that it is a scenario‐based experiment using a fictitious co‐worker and that the sample is comprised of college students. However, manipulating body art in a live confederate would likely to have been impossible and college students are in the age group in which body art is most prevalent, making them logical candidates on which to examine the hypotheses.

Even those with body art themselves still prefer not to work with body art (non‐concealable) wearers in jobs with high levels of face‐to‐face customer contact or in jobs in which rewards are shared equally like team‐based sales.

An experimental design is used so as to manipulate only those characteristics of the work relationship hypothesized to be of interest, while controlling for extraneous variables like attractiveness and personality in the co‐worker, which vary greatly from person to person.

The purpose of this paper is to explore the recruitment and selection procedures employed in the body art sector.

Qualitative interviews were conducted with the owners/managers of eight body art studios located across the USA and the UK.

The results suggest that recruitment and selection in the body art sector is characteristically informal and instinctive. It was also found that the use of formal methods of recruitment and selection in one of the case studies appeared to enhance difficulties in attracting and retaining talent.

The research corroborates the argument that smaller firms employ HRM strategies that are distinct from larger firms. But, more importantly, it also suggests that firm size could be a red herring in light of the various other factors that simultaneously influence HR service delivery.

This paper explores HRM practices in a hitherto unstudied sector of the economy. It also adds another layer of complexity to the academic debates surrounding HRM in small‐ and medium‐sized enterprises.

The purpose of this paper is to argue that greater awareness of the connections between the traditions and conventions of visual art and the production and consumption of images leads to enhanced ability to understand branding as a strategic signifying practice.

Several prominent, successful artists served as case studies to illuminate the potential for insights into the interconnections between art, branding, and consumption by turning to art history and visual studies. Discusses the cross‐fertilization of art and branding, focusing on three contribution areas: the interactions between art, brands and culture, the self‐reflexivity of brands, and brand criticism.

Successful artists can be thought of as brand managers, actively engaged in developing, nurturing and promoting themselves as recognizable “products” in the competitive cultural sphere.

This paper places brands firmly within culture to look at the complex underpinnings of branding, linking perceptual and cognitive processes to larger social and cultural issues that contribute to how brands work and argues that art‐centred analyses generate novel concepts and theories for marketing research.

The purpose of this paper is to explore how second-order cybernetics (von Foerster, 2002) functions in new media artworks, specifically through information, system and user. While formulating the relationship between new media artworks and the discourses surrounding cybernetics the paper analyzes Popp’s (2006) Bit.Fall, Wojtowicz’s (2007) Elsewhere News and Zeren Göktan’s (2013) The Counter, as exemplars of alternative methods of narration. This study further argues that these new media artworks employ a cybernetic narrative via modes of “circularity,” “feedback,” and “perception.”

This paper offers a theoretical approach to new media art and cybernetics in order to analyze three select works. Since the works mentioned have diverse takes on the presented concepts each is discussed and analyzed in their frame of production in relation to cybernetics and new media standpoints.

It is significant that these three artists attempt to invert the quotidian into the concept of new media while cybernetics facilitates their interactive art installations. The fully functioning circularity in these works breaks down the linear narrative structure while regenerating a non-linear narrative together with the flow of information, utilization of the systems and the user interaction. In these works narrative functions as a tool for interaction, which is cybernetically generated by the user (human) and the systems (machine).

New media artworks at least suggest a possibility of observing contemporary art and its history in the making if not generating it altogether through cybernetic modes of “circularity,” “feedback” and “perception.” The experience of these artworks for each user differs depending on their choice to either reject or become immersed in the work. The possible sensoria, however, may still be betrayed by the mind’s willingness to cooperate or at times by the ability to perceive.

Inclusive organizations believe in integrating all toward synergistic outcomes. However, the extent to which inclusive education plays their role toward inclusive organizations requires more explorations. Therefore, the purpose of this paper is to provide a theoretical model exploring authentic leadership (AL) as a predictor of inclusive organization in an Indian school context.

The paper theoretically develops a model to explore and establish inclusive classroom (IC) settings in emerging nations.

The study further provides academic optimism (AO), a latent term comprising collective efficacy, faculty trust and academic emphasis as its dimensions to intervene the linkage between AL and IC. Since teaching pedagogies help teachers to express their real intentions, this study also posits art-based innovation pedagogy as a future-oriented art pedagogy to strengthen the effect of teachers’ AO on IC.

This study will benefit the practitioners and academicians to re-design their policies and practices in developing nation education system.

The identification criteria, service provision, and prevalence rates of individuals with emotional and behavioral disorders (EBD) vary across state jurisdictions in the United States despite being governed by the same general rules. Therefore, it is unlikely that nations with different histories, economic circumstances, and attitudes toward social norms will demonstrate similarity regarding identification and treatment of individuals with EBD. The fields of anthropology, sociology, and psychology provide conceptual frames for understanding how EBD might be considered across cultures. The present chapter reviews a number of these conceptual considerations. Although there is considerable evidence for variability across cultures, there is also evidence for a shared basis that appears to be part of human characteristics, regardless of culture. The chapter concludes by considering special education services in general as a subset of the education systems provided to all citizens in several nations with diverse cultures and economic situation.

Marketing academics have recently been exhorted to embrace postmodernism, the so‐called “new perspective on life and the human condition that is sweeping across the globe”. Using postmodernism′s own tools of playfulness, paradox and irreverence – in the shape of the multiplex cinema as a metaphor for marketing – attempts to clarify some of the confusion surrounding postmodernism. Argues that much of what passes for postmodern marketing, is not, and draws attention to several shortcomings in the postmodernist position. Concludes that, although the concept has much to contribute to marketing discourse, the adoption of postmodern perspectives is not without penalty.