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Much scholarly examination of BDSM and kink attempts to make meaningful various specific practices as cultural “texts,” and analyzes them for what they might signify within a particular culture or subculture. This approach has often focused on interpreting specific acts in relation to human sexuality or psychology – specifically deviance – or on critiquing them from a feminist perspective. I propose to approach an examination of (a particular) BDSM (event) itself as (a) performance, and I argue that it is not only performance but that it is performative, creating a liminal space within the already liminal space of the fetish club in which it occurs. This “kink-space” then becomes the place within which the embodiment, and the dissolution, of binaries occurs, creating possibilities for the audience and upending the structures upon which identity is based. Ultimately, BDSM as performance is an avenue for the understanding of the concepts of liminality and power and how they function to create and contain selves.

For at least three decades, inter-organizational collaboration (IOC) has attracted scholarly attention and many studies have unveiled its inner dynamics. More recently, new phenomena have appeared in the changing landscape of IOC, affecting the way in which organizations are open to interact with, and rely upon, other actors that may be standalone entities as well as representatives of other organizations. These actors operate “betwixt and between” the organizational core and its external environment(s), populating a liminal space located at the organization’s boundary in which activities take place according to non-proprietary and non-employment logics. The authors focus on the forms of collaboration, which blur the lines between organizations, calling into question the fundamental label of crowd-focused IOCs. The authors consider two forms: crowd-open and crowd-based organizations. The authors show the organizational design impact of openness spans from the mere scalability associated with organizational growth to the phenomena of reshaping formalization and standardization of roles and processes, and self-organizing over time.

While the main emotional labor strategies are well-documented, the manner in which professionals navigate emotional rules within the workplace and effectively perform emotional labor is less understood. With this contribution, I aim to unveil “the good, the bad and the ugly” of emotional labor as a dynamic theatrical performance.

Focusing on three geriatric long-term care units within a French public hospital, this qualitative study relies on two sets of data (observation and interviews). Deeply rooted within the field of study, the chosen methodological approach substantializes the subtle hues of the emotional experience at work and targets resonance rather than generalization.

Using the theatrical metaphor, this research underlines the role of space in the practice of emotional labor in a unique way. It identifies the main emotionalized zones or emotional regions (front, back, transitional, mixed) and details their characteristics, before unearthing the nonlinearity and polyphonic quality of emotional labor performance and the versatility needed to that effect. Indeed, this research shows how health-care professionals juggle with the specificities of each region, as well as how space generates both constraints and resources. By combining static and dynamic prisms, diverse instantiations of hybridity and spatial in-betweens, anchored in liminality and trajectories, are revealed.

This research adds to the current body of literature on the concept of emotional labor by shedding light on its highly dynamic and interactional nature, revealing different levels of porosity between emotional regions and how the characteristics of each type of area can taint others and increase/decrease the occupational health costs of emotional labor. The study also raises questions about the interplay of emotional labor performance with the level of humanization/dehumanization of elderly people. Given the global demographics about an aging population, this gives food for thought at a social level.

Ethics work in research is often conceived of as a process of research governance. The case study chapters, however, provide evidence of a much more sophisticated engagement with ethical dilemmas arising in research and an enactment of ‘everyday ethics’, in other words, a concern with our relationships with, and responsibilities to, other people (Banks, 2016). This emphasis on relationality can often lead to what Cook (2009) describes as ‘mess’ in research, which needs to be made sense of. This is in contrast to the notion of ‘well-ordered’ research, which underpins many of the ethical frameworks, principles and guidelines that are produced for research. The chapters also indicate the opening up of new spaces for research that raise new challenges in respect of ethical practice, including, for example, digital spaces (Case Study 4 – Minecraft Club). Case Study 8 – Democratic Engagement also demonstrates that both researchers and participants in the research process find ways in which to challenge conformity and research norms in order to access knowledge, and this is not always a harmonious process. The following sections try to make sense of the implications of these issues for the ethical practice of research. This chapter pulls together three key themes emerging from the case studies of research governance, ethical relationality and ethical spaces, presenting an analytical overview of all three areas using the concept of ‘willful subjects’.

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.

On September 16, 2022, Mahsa a 22-year-old Kurdish girl was killed in Tehran by so-called morality police due to wearing her hijab improperly. After that, thousands of Iranians, led mainly by Gen Z women, poured into the streets protesting the Islamic Republic’s police actions. Named after the protesters’ main rally cry, the Woman, Life, Freedom (WLF) movement swept across Iran very soon and covered other aspects of Iranians’ frustration with the government. The rallies have been confronted with a violent crackdown by the regime, which denied all the accusations and blamed Western countries for sponsoring the protesters. In the lack of dialogic space, Iranians have created their own spaces of autonomy. Calling these spaces the third spaces of engagement, the authors shed light on the protesters’ disruptive daily activities on social media as well as physical spaces as leadership activities through the lens of leadership-as-practice theory. This chapter reframes the issue of hijab as an issue of authority which WLF as a youth-led movement is challenging. Observing protesters’ practices via video clips, news, photos, and social media posts, the authors give an analysis of the movement’s practices based on Harro’s cycle of liberation. The authors argue that while the movement made a huge breakthrough in building a public community around its main slogan, it is suffering from a lack of unity and inclusive collaborative dialogue. Finally, the authors offer suggestions for the movement’s future actions.