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Libros sobre el tema "Aesthetics in organizations"

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Publicado: 4 de junio de 2021
Última modificación: 13 de febrero de 2022

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1

Aesthetic communication. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2010.

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2

Organization and aesthetics. London: SAGE, 1999.

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3

Hancock, Philip y CARR ADRIAN 1951-. Work and organization: The aesthetic dimension. Litchfield Park, AZ: ISCE Pub., 2009.

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4

Organizing silence: A world of possibilities. Albany, N.Y: State University of New York Press, 1998.

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5

Deleuze and the diagram: Aesthetic threads in visual organization. New York: Continuum, 2012.

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6

Zdebik, Jakub. Deleuze and the diagram: Aesthetic threads in visual organization. New York: Continuum, 2012.

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7

Stoneman, Paul. Soft innovation: Economics, product aesthetics, and the creative industries. Oxford: Oxford University Press, 2010.

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8

Soft innovation: Economics, product aesthetics, and the creative industries. Oxford: Oxford University Press, 2010.

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9

John Dewey and the habits of ethical life: The aesthetics of political organizing in a liquid world. Lanham, MD: Lexington Books, 2010.

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10

Kosnoski, Jason. Sensing the public: The art of political organizing in a liquid world. Lanham, MD: Lexington Books, 2010.

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11

The art of management and the aesthetic manager: The coming way of business. Westport, Conn: Quorum Books, 1999.

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12

Arns, Inke. Laibach, Irwin, Gledališče sester scipion nasice, Kozmokinetično gledališče rdeči pilot, Kozmokinetični kabinet noordung, Novi kolektivizem: Neue slowenische Kunst, NSK : eine Analyse ihrer künstlerischen Strategien im Kontext der 1980er Jahre in Jugoslawien. Regensburg: Museum Ostdeutsche Galerie, 2002.

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13

Interrogation machine: Laibach and NSK. Cambridge, Mass: MIT Press, 2005.

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14

J, Höpfl Heather y Linstead Stephen 1952-, eds. The aesthetics of organization. London: SAGE, 1999.

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15

1952-, Linstead Stephen y Höpfl Heather, eds. The aesthetics of organization. London: SAGE Publications, 2000.

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16

The Aesthetics of Organization. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2000. http://dx.doi.org/10.4135/9781446217351.

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17

Kostera, Monika y Cezary Wozniak. Aesthetics, Organization, and Humanistic Management. Taylor & Francis Group, 2020.

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18

Kostera, Monika y Cezary Wozniak. Aesthetics, Organization, and Humanistic Management. Taylor & Francis Group, 2020.

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19

Kostera, Monika y Cezary Wozniak. Aesthetics, Organization, and Humanistic Management. Taylor & Francis Group, 2020.

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20

Aesthetics, Organization, and Humanistic Management. Taylor & Francis Group, 2020.

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21

(Editor), Adrian Carr y Philip Hancock (Editor), eds. Art and Aesthetics At Work. Palgrave Macmillan, 2003.

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22

Philosophy and Organisation. Routledge, 2007.

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23

Philosophy and Organisation. Routledge, 2007.

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24

Experiencing Organisations: New Aesthetic Perspectives. Libri Publishing Limited, 2013.

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25

Zdebik, Jakub. Deleuze and the Diagram: Aesthetic Threads in Visual Organization. Bloomsbury Publishing Plc, 2014.

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26

Bates, Richard y Eugenie A. Samier. Aesthetic Dimensions of Educational Administration and Leadership. Taylor & Francis Group, 2012.

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27

Soft Innovation: Economics, Product Aesthetics, and the Creative Industries. Oxford University Press, 2011.

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28

1954-, Samier Eugénie Angèle y Bates Richard J, eds. Aesthetic dimensions of educational administration & leadership. London: Routledge, 2006.

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29

Chen, Xiangyang. Woman, Generic Aesthetics, and the Vernacular. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0013.

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This chapter examines the hybrid origins of Hong Kong's Huangmei opera film. It shows how the Chinese Communist Party's demand for a cinema showcasing the national cultural past paradoxically facilitated the cross-border circulation of an indigenous, vernacular operatic tradition—featuring feisty rural women, female voice-over chanting, and frequent cross-dressing—into the modernizing idioms of Hong Kong's film industry. Under colonial suppression of local nationalist objectives, the resulting hybridized genre carried a vital female imaginary in nostalgic Chinese wrappings. In contrast to Indian cinema's culture of emotion, female performativity contests Chinese conventions of restraint, opening up imaginary female power. This is supported by the impact of the female voice on point-of-view shooting, spatial organization, and narrative structure, foregrounding, against Western feminism's focus on the male gaze, a female counter-gaze within a patriarchal drama of conflicting desires.
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30

1922-, Davenport William H., Donner William Wilkinson y Flanagan James G. 1949-, eds. Social organization and cultural aesthetics: Essays in honor of William H. Davenport. Lanham, Md: University Press of America, 1997.

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31

Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Editado por Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.10.

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This chapter maps the territory of the contemporary audiovisual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. It presents films that bear witness to the avant-garde’s ongoing interest in the formal organization of sound/image relationships. If one of the main concerns of sound in conventional film is to “naturalize” the image, experimental film is interested instead in ananti-naturalistic use of sound. Films without sound or even without images (which still can be called “films”), the use of audiovisual polysemy, asynchronous, or even synchronous sound, as well as the visualization of code-based music, are all means of revealing the constructed nature of the cinesonic event. The chapter examines the realm of the sound of technology itself, pointing out the creative potential ofoptically synthesized soundsas well aslive generated sounds and images, which attest to the agility of current projection performances.
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32

Holt, Robin. Images. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0005.

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This chapter considers strategy as an aesthetic as much as a social and economic design of organizational form. It brings into question the nature and use of images to convey and embody strategic vision, notably in questioning the aspiration of those for whom strategy is to institute conforming patterns of thinking and behavior within an organization. Illustrations to the argument come from the planned redevelopment of the city of Paris, first from Haussmann and then Le Corbusier.
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33

Gledhill, Christine. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0018.

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Two key areas of Film Studies—genre and gender representation—have generated challenging theories and debate. However, these concepts rarely intersect. Studies of gender representation and sexed spectatorship largely subsume genre into narrative and visual organization. This introductory chapter sets out the book's purpose, which is to open up questions about the complex interaction of aesthetics, cultural meanings, and affect in mass-mediated cinematic fictions. For too long, represented gender has been taken as a means of ideologically assessing films. The challenge, then, is to open a perspective from the side of genre: to explore the aesthetic and imaginative power of gender as a tool of genre, and to explore what genre returns to the cultural sphere. An overview of the subsequent chapters is also presented.
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34

Vogan, Travis. The Shakespeares of Sports Films. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0005.

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This chapter examines how NFL Films' engagements with aesthetic traditions, the discourses surrounding the company, and its selective incorporation of positive critical reception into its publicity materials separate the organization from other sports media outlets and, by extension, distinguish the National Football League (NFL) from competing sports organizations. Throughout its history, NFL Films has taken great pains to emphasize its distinction within sports media and in the broader contexts of art and media culture. The company places its productions in dialogue with established aesthetic traditions, reinforces its producers' status as legitimate artists, advertises the various accolades it has received, and distances itself from NFL's commercial motives. This chapter explains NFL Films' use of aesthetic traditions and discourses to craft its image and position the company as part of an artworld—a status that is remarkably rare in sports television and in sports media more generally. It also considers how NFL Films situates Ed and Steve Sabol as artistic visionaries who play central roles in reinforcing its efforts to claim status as a site that produces art.
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35

Renato, Saltz, ed. Cosmetic medicine and aesthetic surgery: Strategies for success. St. Louis, Mo: Quality Medical Pub., 2009.

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36

Saltz, Renato. Cosmetic Medicine and Aesthetic Surgery: Strategies for Success. Thieme Medical Publishers, Incorporated, 2009.

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37

Odin, Steve. Whitehead’s Perspectivism as a Basis for Environmental Ethics and Aesthetics. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456320.003.0008.

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There exist parallels between the Buddhist concept of Indra’s Net and the notion of moral perspective-taking. According to Alfred North Whitehead’s process metaphysics, the aesthetic continuum of nature is an organization of perspectives, whereby each occasion is akin to a Leibnizian monad, or metaphysical point, each functioning as a living mirror that reflects the entire universe from its own unique standpoint as a microcosm of the macrocosm. The metaphysical perspectivism underlying Whitehead’s ecological concept of nature along with a brief consideration of how Whitehead’s perspectivism illuminates the Japanese aesthetic concept of nature can be visualized by the poetic metaphor of Indra’s Net. Whitehead’s Leibnizian perspectivism was reformulated by George Herbert Mead, and later by Lawrence Kohlberg and Jürgen Habermas and can be integrated into an ethical procedure for moral perspective-taking, whereby free moral agents learn to put themselves into the perspectives of others in the community.
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38

Vo, Linh-Chi y Mihaela Kelemen. John Dewey (1859–1952). Editado por Jenny Helin, Tor Hernes, Daniel Hjorth y Robin Holt. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199669356.013.0015.

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Born in Vermont on 20 October 1859, John Dewey was one of the most controversial philosophy professors of his generation. He published more than 700 articles and wrote approximately 40 books in his lifetime, tackling a wide range of subjects such as philosophy, psychology, political science, education, aesthetics, and the arts. Inspired by William James and Charles Sanders Peirce, Dewey developed his own theory of pragmatism which is often referred to as instrumentalism or experimentalism. Dewey’s notion of experience lies at the core of his philosophy. This chapter examines Dewey’s philosophical views, including those on the relationship between man and the environment, continuity and habit, situation, knowledge, and enquiry. It also discusses the relevance of his pragmatism to organization studies, including organizational learning.
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39

Thomas, Brook. Minding Previous Steps Taken. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0002.

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The chapter looks at new directions in law and literature from James Boyd White’s 1973 publication of The Legal Imagination to Julie Stone Peters’s 2005 announcement of the end of a movement. It focuses on different institutional spaces in which interdisciplinary work took place, including spaces outside the United States. This period saw developments in questions of politics, ethics, and aesthetics; drama, narrative, and interpretation; equity, sovereignty, and jurisdiction; race, class, and gender; copyright and censorship; torts and contracts; economics, marriage, inheritance, and crime. Thomas compares the rise of various organizations and journals devoted to law, literature, and the humanities with ones devoted to law and society. He stresses the continued need for scholars to engage work done in different spaces and times.
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40

Holt, Robin. The Judge. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0012.

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The judge is the singular source of authority, the figure in whose action judgment is embodied. Using Georges Rouault’s painting, The Judges, this chapter discusses the relationship between law, spectating, and feeling. Taking up a refrain from Walt Whitman, a poetic form of judging is argued for. Poetic judgment brings about a world framed by the creation of forms by which we can educate ourselves in the collective business of living. Strategy, understood as the presentation of an organization to itself and others, becomes a judgmental condition of bringing together general sensibility and particular experience to re-frame the places in which we live and work. This chapter introduces a reversal of visionary forms of strategy. With poetic judgment, strategy becomes an aesthetic process of creating organizational forms and we become increasingly and collectively aware of the vulnerable ordinary and its panoply of elusive and sometimes strange occurrences.
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41

Klein, Gabriele. Urban Choreographies. Editado por Rebekah J. Kowal, Gerald Siegmund y Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.48.

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In recent years, above all in urban environments, new cultures of public protest and artistic interventions have established themselves. These artistic and aesthetic forms increasingly operate with physical, theatrical, and choreographic practices and tools, developing a politics of images in an effective and affective media environment. This chapter discusses, using the examples of LIGNA’s performances Radioballet and Dance of All, the aesthetic, political, and social dimensions of artistic interventions based on a concept of community that is defined by corporeal and aesthetic practices. The chapter highlights the political potential implied in the aesthetic and artistic forms of public cultural gatherings. It focuses on the production of attention by means of bodily practices (gestures, facial expressions, movement, dance), theatrical settings (stage, costumes, music), and choreographic tools (organization of bodies, rhythm, dramaturgy).
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42

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman y Stephanie Sandler. The poetics of subjectivity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0033.

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The chapter explores the poetic systems that evolved to represent and simultaneously shape new subjectivities, a rich and abiding topic in Russian poetry. The chapter surveys the organization and aesthetic outlook of key aesthetic movements (Symbolism, Acmeism, and Neo-Romanticism, among others) and concentrates on poetic representations of identity that emanate from group affiliations or artistic trends (such as zhiznetvorchestvo, an aesthetic that privileges the interplay of life and art). The chapter traces the emergence of discourses through which writers negotiated between a commitment to individual freedom and the larger state context. An Interlude between Chapters 2 and 3, “Misfits,” treats the poetics and poetry of authors whose approach to subjectivity and language thwart attempts to assign them to schools or specific trends.
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43

Cornell, Andrew. New Wind. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0007.

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Something of a revolution in anarchist thought occurred during the 1940s and early 1950s, much of it centered in New York City. World War II divided the small contingent of U.S. anarchists active during the Depression years, as many movement veterans reluctantly endorsed the Allies as the only viable means of defeating fascism. However, a new generation of activists -- many of them recent college graduates -- established journals and organizations that rejected participation in the war, often on pacifist grounds, and that began to reevaluate central tenets of anarchist theory. This chapter explores the milieu that developed in New York City, Woodstock, NY, and rural New Jersey at mid-century, focusing on three "little magazines" that supported and influenced one another: Politics, Why?, and Retort. Although anarchism was at a numerical nadir during these years, a tight-knit community of artists, theorists, and radical pacifists developed ideas, tactics, and aesthetics that reshaped anarchism so fundamentally that they remain prominent today in the Occupy Wall Street demonstrations.
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44

Vogan, Travis. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0008.

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This concluding chapter examines the continued presence of NFL Films' traditional practices—and the values they deliver—at a time when the National Football League (NFL) evidences less support for programming that displays these conventions. Despite its decreased importance to the contemporary league, the cultural and aesthetic significance of NFL Films productions exceeds the realm of pro football and even sports media. Despite their increased scarcity on venues like ESPN and NFL Network, NFL Films' traditional aesthetic practices and the values they convey circulate independently of the company's depictions of pro football. It is now virtually impossible to watch TV for very long during the football season without witnessing at least one commercial that evokes NFL Films' conventions. This chapter discusses the legacy of NFL Films, including the establishment of a league-owned media infrastructure upon which the NFL continues to expand and that all other major sports organizations have since emulated, along with the creation of a framework from which contemporary sports television developed its formal practices and enhanced its presence on the medium.
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45

Davila, Antonio y Angelo Ditillo. Management Control Systems and Creativity. Editado por Michael A. Hitt, Susan E. Jackson, Salvador Carmona, Leonard Bierman, Christina E. Shalley y Douglas Michael Wright. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780190650230.013.24.

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This chapter argues that designing management control systems to enhance creativity requires a fundamental shift in how these systems are conceptualized, namely, as enablers of creativity. Concepts such as diagnostic and interactive, enabling and coercive, and inspirational and directional provide a head start in this respect. A new research agenda is proposed around three main lines: first, the exploration of traditional control concepts in an environment where intrinsic motivation dominates; second, the study of how management control systems are designed and used in settings where aesthetic creativity plays a central role; and, third, an investigation of the differences across management control systems as creativity, organizational design, and people’s characteristics vary. Research focused on the link between management control systems and intrinsic motivation, aesthetic creativity, and contextual variables will enhance our understanding of a topic that is central to innovation and increasingly important in establishing competitive advantage.
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46

Maxwell, Catherine. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0001.

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The Introduction outlines the scope and range of this study of perfume in Victorian literary culture, defining its terms and explaining its specific links with aestheticism and decadence during 1860–1900, the period in which British perfumery developed, expanded, and gained an international reputation. It also explains the important links between perfume and literary language, surveys various kinds of modern writing about smell and perfume, and indicates the relatively small amount of critical writing on olfaction in Victorian literature. Finally, signalling the broadly chronological organization of this monograph, it provides detailed chapter summaries which trace an evolutionary movement from Romantic poetry and early and mid-Victorian fiction to aestheticism, decadence, and the literature of the fin de siècle, ending with Virginia Woolf and Compton Mackenzie, two early twentieth-century novelists whose works provide contrasting reactions to Victorian scented literature and perfumed decadence.
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47

O'Donoghue, Bernard. Poetry: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199229116.001.0001.

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Poetry, arguably, has a greater range of conceptual meaning than perhaps any other term in English. At the most basic level everyone can recognize it—it is a kind of literature that uses special linguistic devices of organization and expression for aesthetic effect. However, far grander claims have been made for poetry. Poetry: A Very Short Introduction looks at the many different forms of writing that have been called ‘poetry’—from the Greeks to the present day. As well as questioning what poetry is, it asks what poetry is for, and considers contemporary debates on its value. Is there a universality to poetry? Does it have a duty of public utility and responsibility?
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48

Bull, Anna. Class, Control, and Classical Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190844356.001.0001.

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Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.
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49

Monroe, Alexei. Interrogation Machine: Laibach and NSK (Short Circuits). The MIT Press, 2005.

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50

Oikonomopoulou, Katerina. Miscellanies. Editado por Daniel S. Richter y William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.25.

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This chapter discusses miscellanies, a type of Second Sophistic writing whose distinguishing features are variety of subject matter and loose organization. The chapter starts out by acknowledging the difficulty of grasping “the miscellany” as a genre: as it argues, socio-cultural approaches to genre are more appropriate than formalistic ones, if we seek to address the question of these works’ readership and appeal. Accordingly, the chapter links miscellanies with imperial Greco-Roman reading culture, by investigating the aesthetic and cognitive advantages of variety (variatio/poikilia). Further, it demonstrates that miscellanies actively engage with key ideals and concerns of Second Sophistic culture, such as paideia and identity, by constructing differing models of polymathy, and by exploring different facets of identity (class, cultural, or gender).
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