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This paper sets out to explore the impact of aesthetics on employee satisfaction and motivation.

The paper is based on organisational aesthetics and organisational culture theory and interviews with employees at Norwegian telecommunications company Telenor – a significant investor in art, design and architecture.

There are potential connections between artifacts (as an expression of organisational culture) and employee satisfaction, identity, mood, creativity and motivation. Aesthetics seems to be particularly important to employees working with the business segment because of the face‐to‐face interaction between employees and customers. It appears that the “visual Telenor” influences employees' identification with the organisation.

When organisations invest in art, design and architecture, they need to be active in engaging employees with its meaning and relevance. If employees are not engaged, the aesthetic environment will not stimulate creativity or influence job satisfaction and motivation.

The findings of this paper have enabled the creation of a matrix with four different categories defined by the degree of financial investments in art, design and architecture and the extent of investments in activities engaging employees. A conceptual model is proposed that identifies possible connections between aesthetics and employee performance.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.

The rise of aesthetics within organizational studies has been met with enthusiasm by a growing coterie of scholars. Aesthetics, it is claimed, offers a dimension that has been missing in a discipline that has been dominated by instrumental approaches. It is not surprising, then, that Pierre Guillet de Monthoux, one of the field's champions, asserts that “if the German artist Joseph Beuys … was right in claiming that art is tomorrow's capital, it seems reasonable to consider aesthetics its new organization theory” (Guillet de Monthoux, 2000, p. 35).

Drawing from experiential theory and decision-making theory, this article aims to posit that workplace aesthetics acts as a driver for job choice when included with an employment offer. Whilst organisational literature has recognised that office experiential cues in general, and aesthetics in particular, affect employee performance and well-being, employer attractiveness scales have not yet incorporated office aesthetics as a component of job-offer choice.

A choice-based conjoint (CBC) experiment was conducted to estimate the weighted utilities of three aesthetic and three non-aesthetic employer attributes. Subsequently, the attributes' importance in the job choice decision was estimated.

The results indicate that aesthetic attributes in the workplace can be equally important in the decision-making process as non-aesthetic attributes and that aesthetic attributes deliver as much utility as non-aesthetic attributes in driving job choice.

These conclusions are relevant for Human Resource (HR) managers engaged in crafting job offers, who should consider that employees may improve their assessment of a job offer as a result of superior organisational aesthetics demonstrated during the recruitment process as well as in contexts where employees would be expected to combine remote and office-based work.

The present study represents a novel approach to understanding job applicants' preferences for aesthetic elements in the workplace. The results suggest that the workplace experience is relativistic and that considering applicants' latent preferences is crucial when designing efficient job offers.

The purpose of this paper is to discuss participant‐led photography as a response to the author's need for an “aesthetic approach” to ethnography during fieldwork, including the importance of an embodied, sensory orientation to ethnography in organizational contexts.

The paper reviews a range of literature and draws on the author's experiences to support a conceptual argument.

There is currently scant attention to the sensory dimension of ethnographic practice and the paper puts forward an agenda for future research.

Suggestions are made as to how aesthetic and/or sensory ethnography can support changing landscapes of organizational research.

In drawing together multidisciplinary literature, the paper advances the agenda of ethnographic research in organizational life.

The purpose of this paper is to put forward an argument for the importance of social and situational dynamics present when groups of organizational members view images. This both enriches psychoanalytic theories of the visual previously brought to bear on this topic and adds a valuable psychoanalytical perspective to visual organization studies.

The paper extends Burkard Sievers’ concept of the “social photo matrix” (SPM) through an interdisciplinary review of literature in psychoanalysis, audiencing, media studies and social theory.

A socially nuanced variant of the SPM is put forward as a way to explore organizational members’ experiences of work and employment, as part of a nascent “visual methodological approach” to studying organization(s).

The ideas within this conceptual paper would benefit from empirical investigation. This would be a fruitful and interesting possibility for future research.

The paper concludes with a discussion of the contemporary utility of the SPM as a psychoanalytically‐motivated method through which to understand visually‐mediated effects of organizational action, as collectively experienced by their members and stakeholders.

The paper makes a particular contribution to the poorly‐researched area of the collective reception of organizational images and opens up possibilities to work with the hidden anxieties and defences that arise in the course of organizational action.

This chapter highlights the value offered by photographic research methods to the study of organizational compassion. We demonstrate this potential by first briefly reviewing the history and usage of photographic research methods in the social sciences and the state of compassion research. We then describe how compassion emerged as a key theme in a field study that utilized photographic methods. From this, we identify four approaches that photographic research methods can be used to extend our understanding of compassion in organizations. Specifically, we clarify how this stream of research can be enhanced by the inclusion of photographic methods. We highlight critical research decisions and possible concerns in implementing photographic methods. The chapter concludes with additional organizational phenomena that would benefit from using a photographic methods approach.

The various methods gathered under the umbrella label of qualitative (Guba & Lincoln, 1994), defined as the study of “things in their natural settings, attempting to make sense of, or interpret, phenomena in terms of the meanings people bring to them” (Denzin & Lincoln, 2005, p. 3), offer many benefits through their ability to access, explore, and experience real organizational people and problems in rich detail (Van Maanen, 1979). As an example, photographic research methods—primarily qualitative methods through which researchers use photographs to elicit information during interviews and focus groups—often result in deep and nuanced data (Collier & Collier, 1986; Harper, 2005; Vince & Warren, 2012). Photographic methodologies are well-suited to the exploration of new phenomena because they allow researchers to get close to the lived experience and organizational processes (Dion, 2007), attend simultaneously to the social and material world in organizations (Shortt & Warren, 2012), and offer the potential to “mine deeper shafts into a different part of human consciousness than do words-alone interviews” (Harper, 2002, p. 23). Organizational research has traditionally been dominated by a positivistic paradigm that focuses on theory evaluation through the use of quantitative methodologies (Lin, 1998; Sutton, 1997), whereas qualitative research offers the potential to build theory by illuminating underlying processes and causal mechanisms in specific contexts (Lee, 1999). Researchers developing theory may be particularly interested in the richness of the data gathered with qualitative methods (Edmondson & McManus, 2007) such as photographic methods. Qualitative research is thus well-matched to nascent literatures that require inductive study about a phenomenon to generate foundational knowledge (Edmondson & McManus, 2007).

One such nascent research stream that could benefit from photographic methodologies is organizational compassion (Rynes, Bartunek, Dutton, & Margolis, 2012). In its current state, compassion research within the organizational literature has generated many narratives of experiences of compassion in response to a specific tragedy (Dutton, Worline, Frost, & Lilius, 2006), as an organizational capability (Lilius et al., 2011b), or as an organizational capacity that an organization can develop (Madden, Duchon, Madden, & Plowman, 2012). These stories demonstrate that the common elements of the compassion process are the noticing of someone else's pain, empathizing with that person, and then responding in a way designed to lessen that pain (Kanov et al., 2004); however, because this process is so individualized, photographic methodologies offer researchers a chance to capture valuable new information about this process and the experience of compassion within organizations. In this chapter, we describe many potential benefits of designing organizational compassion research based on photographic methodologies.

In doing so, we offer several contributions. First, we show how photographic methodologies can create deeper responses during interviews and observations that may lead to surprising insights for theory. Second, by suggesting some of the insights that have been generated about compassion through photographic methodologies, we offer novel research ideas for this growing body of literature. The following sections provide background on the development and history of photographic methodologies and review the studies and methodologies that have contributed to our understanding of compassion within organizations. Subsequently, we describe some of the ways in which compassion has surfaced during our own field study using photograph elicitation. Finally, we describe possible studies that could benefit from the use of four forms of photographic methodologies to explore more targeted research questions related to organizational compassion and also offer a range of other organizational phenomena that could benefit from a photographic methods approach.

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.

The aim of this paper is to investigate the symbolic meaning attributed by women in academia to workplace artifacts.

The research approach is that of auto-ethnography, whereby the authors, as researchers and participants, explore symbolic meaning from artifacts in their working environment.

Three themes emerged on the symbolic meaning from artifacts for women in academia. The theme of “affect” revealed women as uncomfortable in their surroundings; “representation”, renders women invisible within the institution; and women felt themselves to be under “surveillance”.

The investigation is limited to one university, which limits generalizability. The implication is to replicate this auto-ethnographical study in other institutions of higher education.

This paper implies that architectural, institutional and personal artifacts play an important role in defining women’s workplace identity.

Women in academia identify themselves as “outsiders” in the workplace because of the symbolic meaning they attribute to artifacts.

This study on women in academia is original as it is the first auto-ethnographical study on artifacts in an international institution of higher education.