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In a process termed “organizational centrifugalism,” this chapter describes how avant-garde artists sought new, alternative organizational spaces for innovations in the visual arts from the late nineteenth century through the early twentieth century and how new alternative marketspaces co-evolved with these new organizational spaces. Organizational centrifugalism begins with the denouement of the state-run Salon and Academy in the mid-nineteenth century; the rise of the dealer-critic system and other, non-salon alternative exhibition spaces of French Impressionism in the latter half of the nineteenth century; and through many new organizational spaces associated with Modernism such as formal artists groups, museums, great exhibitions, schools of art, and Modernist art itself. The ultimate effect of organizational centrifugalism is drawing avant-garde art closer to the public and eventually the masses. Excessive organizational centrifugalism, however, can be dangerous to the avant-garde art.

Michael E. Brown's book, The Concept of the Social in Uniting the Humanities and Social Sciences, demonstrates that prominent attempts to account for the social dimension of human affairs rely on an unstated notion of a “course of activity,” that is diametrically opposed to the conceptualization of sociality that is presumably intended to realize it. I want to focus on the idea of a “course of activity” in order to locate his work in and clarify its importance to the development of dialectical reason from Heraclitus through Hegel and beyond. Of special importance is the bearing of his research on the critique of contemporary theories of agency and sociality, and, since considerable attention has been paid, in this regard, to the arts and humanities, some of what I will say about this refers to art and its avant-garde moments—-particularly in my work on Dada and Brown's account of two avant-garde theatrical performances. 

This chapter examines what is entailed by separating agency from individuality and what it means for the idea of a “course of activity,” (going on) and its relation to the concept of sociality. This also bears on questions of ontology, as Brown's course of activity is generative and nonrepeatable. The course of activity and nonrepeatability are linked to both avant-garde practice and theoretical notions that reframe our temporal understandings. These include the avant-garde of dada and surrealism, and the reformulations of bourgeois time of Jean Duvignaud, Walter Benjamin, Ernst Bloch, and Jean-Paul Sartre. The question raised here is that of a teleological understanding—how we link the present course of activity with future events.

Positioned in the e-retailing field, this study aims to investigate the effect of the retail store’s atmosphere on consumer behavior in 3D online shopping environments, focusing on store layout as a critical influential factor.

The research uses a mixed research method approach that includes two complementary studies. First, a three-round Delphi study with domain experts is used to develop a store layout classification scheme (Study 1), resulting in five distinct types of store layout. Subsequently, 3D online retail stores that use the five layouts are designed and developed. These serve as treatments of a laboratory experimental design, which is used to assess layout impact on a number of attitudinal and behavioral variables (Study 2).

Five distinct types of store layout have been identified in Study 1, and their distinctive features are presented. The findings of Study 2 indicate that online shopping enjoyment, entertainment and ease of navigation are influenced by the store layout types of 3D online environments. Specifically, the “avant-garde” layout type facilitates the ease of navigation of customers in the store and provides a superior online customer experience. The “warehouse”’ adopts long aisles for the display of products, which simplifies the comparison of products, whereas the “boutique” layout was found to be the best in terms of shopping enjoyment and entertainment. The “department” layout shares many common characteristics with traditional department stores, providing an entertaining and enjoyable store, whereas the “pragmatic” layout emphasizes low system requirements.

The paper presents characteristics that make store layouts effective for different aspects of online customers’ experience and identifies opportunities that 3D online store designers and retailers can explore for the provision of enhanced, customized services to online customers.

This paper examines recent technological developments in store design and visual merchandising. It identifies five layout types of 3D online stores, which are different from those of brick–and–mortar and 2D online stores, and investigates their impact on consumer behavior. Further, the paper examines how each layout type influences online shopping enjoyment, entertainment, ease of navigation, online customer experience and, in turn, purchase and word-of-mouth intentions. Finally, the paper examines the moderating role of telepresence. Individuals with high sense of telepresence conceive 3D environments as “real” and are more concerned about the attributes that trigger the sense of enjoyment they experience while browsing.

Michael Brown argues that what unites the human and social sciences is their evolving character, made explicit in the concepts of “reflexivity,” “course of activity,” and “theorizing.” Once the social sciences are taken as a whole, the notion of “sociality” will allow to grasp society as ever changing, as a becoming. I shall examine the notion of sociality in the literary criticism of Lukács, Goldmann, and Adorno, three authors who consider the essay as the adequate open form of critique in times of rapid social change. Originally adopted by the young Lukács, the essay tended to be abandoned by him when elaborating the concept of critical or socialist realism as a repository of timeless cultural values. In his studies in the European realist or the soviet novel, for example, on Balzac, Stendhal, Thomas Mann, or Solzhenitsyn, the dialectical concept of social totality becomes a sum of orientations, presenting the individual writer with the moral task to choose “progress” and discard “negativity.” The social is thus narrowed to individual choice. Different from Lukács, Goldmann's literary theory defines cultural production as a matter of the social group, the transindividual subject. Goldmann was deeply marked by Lukács's early writings from which he gained notably the notion of tragedy and the concept of maximum possible consciousness—the world vision of a social group which structures the work of a writer. Cultural creation is resistance to capitalist society, as evident in the literature of absence, Malraux's novels, and the nouveau roman. In the writings of Adorno the social is lodged within the avant-garde, provided that one takes its means and procedures literally, e.g., the writings of Kafka. By formal innovation—among others the adoption of the essay, the small form, the fragment—art exercises criticism of the ongoing rationalization process and preserves the possibility of change (p. 319).

Examining the techniques of a management consulting firm comprising actors, directors, producers, writers, musicians and other artists, the article reveals through several case studies how a company of avant‐garde artists has turned the lack of conventional business training from a competitive disadvantage to a unique benefit.

The article opens with a brief overview of the company, Learning Worlds, and its historical evolution from the Gertrude Stein Repertory Theater. From interviews with clients and several case studies, the article proposes three qualities through which Learning Worlds has demonstrated its value to global corporate enterprises developing sophisticated business products. These qualities are those of communication, differentiation and the perspective of “outsider” minds. The qualities are described and the part they have played in engagements with clients is demonstrated in three case studies, with Kepner‐Tregoe, LexisNexis, and Microsoft.

Arts training increases sensitivity to audiences, and improves facility with aesthetic impact, stories and drama. The avant‐garde impulse encourages organizations to look beyond the usual solutions and habitually search for difference. And an “outsider mind” sees through assumptions and around organizational barriers to discover new paths to success. Learning Worlds' success with clients is based on a willingness to grasp business issues, but hold onto the arts advantage.

By detailing qualities uniquely developed by artists and demonstrating how their expert application has led to success in particular situations, the article demonstrates the value of occasionally stepping outside determined best practice to try a different set of strategies for reaching winning solutions.

Conflicting theoretical perspectives present radical innovation as originating either from the core or the periphery of a system. Studies tend to bridge this divide by way of positions or roles. This paper proposes a process interface, where ideas from the core are radicalized on the periphery, inverting the established tendency of “tempering” of innovation. This approach realigns the primacy of the core in diffusing ideas and that of the periphery in reinforcing distinctiveness. Radicalization and tempering are interdependent, to the extent that the realization of one denotes other’s termination. Quantitative and qualitative evidence from the history of art lend support to the arguments, including breakthrough paintings, such as The Scream by Munch and Black Square by Malevitch. Radicalization is facilitated by simultaneously increasing differences and exchanges between core and periphery. The mobility of new ideas from the core to the periphery is likely to provoke resistance in a conservative environment. The collision of opposing social forces raises the stakes, making compromise less feasible or desirable.

The purpose of this paper is to evaluate the connections between art and marketing in order to develop enhanced insight into how visual art and the art world can inform marketing theory and practice.

An indepth analysis of a range of relevant literatures is carried out in order to heighten understanding of art as a way of knowing within the marketing discipline. A range of meanings of art and marketing are considered and an analysis of their intersections is carried out.

A number of useful concepts are developed, including that of the marketing manager as an artist. Viewing marketing through visual art is seen as an avant garde response to addressing the continuing theory/practice gap.

Following an art‐based way of knowing in marketing has the potential to challenge more mainstream paths of thinking by opening up the ways in which we visualise marketing theory and practice. Thinking about marketing through art should not be seen as a general panacea for addressing current inadequacies of marketing theory, but should instead be viewed as an alternative mechanism in which contemporary marketing theory and practice can be enriched by the transference and juxtapositioning of art‐based thought with long established ways of thinking about marketing.

Artistic creativity is seen as a key factor in stimulating marketing decisions. Viewing the marketer as artist also mirrors the actual behaviour of the marketing manager by providing insight into intuitive thought processes and visualisation techniques.

Arts marketing research in general is making progress in terms of its theoretical and practical contributions to the wider marketing discipline. It is believed that papers such as this will contribute to the ongoing research agenda by stimulating much needed critical debate.

Much writing on dissenting intellectuals posits a uniform relationship between autonomy from the popular element and social influence. The case of U.S. poets from 1930 to 1975 challenges this, as dissenting poets' sphere of influence grew during the hegemony of populist as well as antipopulist movements. In order to account for this, this chapter draws on the conceptualization of autonomy as a process whose parameters are mutually irreducible and potentially contradictory. Where these parameters are more or less fully synchronized, dissenting intellectuals face a united bloc of opponents that they cannot divide; therefore, they need to fight all of these opponents simultaneously. Where there is little such synchronization, in contrast, they can negotiate temporary alliances with some of their foes, use these alliances to secure gains in more important fronts, and revise their alliances as circumstances change. Twentieth-century United States, this chapter argues, was an example of the latter kind of setting. Dissenting poets were able to use universities and popular element against one another, depending on how they saw their overall situation. When autonomy from universities mattered most, they reclaimed the popular element; when autonomy from the popular element mattered most, they set aside their differences with university administrators and joined the academic ranks. This distinction between greater and less synchronization of the powers, the chapter argues, has implications for political sociology beyond the study of intellectuals.

The purpose of this paper is to identify the personal values of consumers of ethical cosmetics in Brazil, using the resulting personality types to segment consumers for the development of strategies by Brazilian retailers and international players.

This study administered the psychometric Values and Lifestyles Scale (VALS) via an online survey with 302 consumers of ethical cosmetics. First, exploratory factorial analysis was employed to identify the behavior of VALS' factors within the sample. Second, cluster analysis was performed using hierarchical clustering technique in order to link demographic variables and VALS' types to form specific consumer profiles.

The study found eight VALS types in the sample respondents but with a different configuration than the original factors. They were named, respectively, “Avant-garde”, “Oriented to fashion”, “Artisans”, “Committed to morality and religion”, “Leader of a group”, “Theoretical”, “Ingenious” and “Conservative”. Results indicated a demographically homogeneous sample with personality profiles mostly placed among VALS' original factors “Experiencer”, “Thinker” and “Innovator”.

Results may vary within other cultural contexts and different means of investigation suggesting future research opportunities.

Ethical demands concerning health and environmental preservation are no longer neglectable. The study of consumers' personal values can contribute to formulate suitable retail strategies for expected demands of consumers in the ethical cosmetics segment.

These findings are expected to provide resources for decision-makers, academics, practitioners and marketers concerning several points of sensitivity in their relationship with ethical consumers.