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Democracy and sense questions practically all that happens in society today. Its aim is to raise a debate on the most urgent problems of economy, democracy, sustainable conduct and the framework for industry and business. A number of untraditional solutions are suggested, but without support to either rightwing or leftwing politics. In fact, one of the key points is that political parties have reduced democracy to one day of voting followed by four years of oligarchy. To regain a functioning democracy we must strengthen direct democracy and make the distance between population and government shorter. ; Democracy and sense questions practically all that happens in society today. Its aim is to raise a debate on the most urgent problems of economy, democracy, sustainable conduct and the framework for industry and business. A number of untraditional solutions are suggested, but without support to either rightwing or leftwing politics. In fact, one of the key points is that political parties have reduced democracy to one day of voting followed by four years of oligarchy. To regain a functioning democracy we must strengthen direct democracy and make the distance between population and government shorter.

This paper addresses processes of subjection and abjection as expressed in organizational and collective memory. It complements recent developments in organizational memory studies by demonstrating how the dark side of organization has been subjected to what Susan Sontag calls a 'collective instruction' process that normalizes how this dark side is understood, or marginalized. The paper argues that history today is often represented as kitsch and offers a method of aesthetic 'juxtaposition' of visual artefacts that together with a detailed reading enables researchers to critically challenge this organization of memory and reintegrate abjected material. The method is exemplified by juxtaposing the iconic World War II photo of a little Jewish boy leaving his home with his hands in the air during the Nazi clearances of the Warsaw Ghetto and Paul Klee's iconic painting of an angel in terror, Angelus Novus, painted in 1920 just after World War I. The analysis demonstrates how history tends to be organized by a majoritarian system – in this case what has been termed 'the Holocaust industry' – through collective instruction in how to interpret events, and outlines alternative ways for exposing and resisting this process, resulting in the creation of counter-narratives. This analytical strategy confirms that organizational aesthetics resides at the heart of what is political.

Hitherto, there has been no book that attempted to sum up the breadth of Umberto Eco's work and it importance for the study of semiotics, communication and cognition. There have been anthologies and overviews of Eco's work within Eco Studies; sometimes, works in semiotics have used aspects of Eco's work. Yet, thus far, there has been no overview of the work of Eco in the breadth of semiotics. This volume is a contribution to both semiotics and Eco studies. The 40 scholars who participate in the volume come from a variety of disciplines but have all chosen to work with a favorite "ation from Eco that they find particularly illustrative of the issues that his work raises. Some of the scholars have worked exegetically placing the "ation within a tradition, others have determined the (epistemic) value of the "ation and offered a critique, while still others have seen the "ation as a starting point for conceptual developments within a field of application. However, each article within this volume points toward the relevance of Eco -- for contemporary studies concerning semiotics, communication and cognition.

Abstract
In this article we suggest a possible relation between C. S. Peirce's (1839-1914) concept of metaphor and abduction. To our knowledge Peirce never did analyze nor even mention , the two concepts in the same context. But we understand the hypoiconic metaphor as rooted in the abductive mode of inference; the hypoiconic metaphor is part of an intricate relation between experience, body, inference, and guessing instinct as a semeiotic mechanism which can convey novel ideas.

Focuses on the implications of Deleuze and Guattari's thinking on the social sciences and organisation. This book is concerned with the basic notions of 'the social'. It seeks both to comprehend the 'multiplicity' of the social - in Deleuzian terms, the 'becoming' of the social itself; and it seeks to develop the social analytical practice

This article explores the drama performed around a self-proclaimed 'anti-establishment' executive at a Danish film company, Zentropa. The company prides itself on being against the existing 'elitist' and commercialized Danish film industry. Inspired by the thesis that modern capitalism develops by incorporating the critiques directed against it, the article analyses how Zentropa's Chief Executive Officer invests a 'progressive', counter-cultural spirit in his management practices. We describe how a 'freethinking' and 'subversive' CEO uses his dramatized performances to exercise an authority that violates employees' privacy and involves public displays of disrespect. We further examine how employees use impression management to cope with norm-violating management practices, including sexual provocations and the dramatic, unjustified dismissal of an employee. In the context of these disruptions, we analyse how order is reestablished through dramaturgical cycles of symbolic events, including sacrifice. In particular, the study provides insights into how theatrically staged, norm-defying performances both disrupt the organization and allow managerial power to be reinstituted. It also demonstrates that anti-establishment management involves and rests upon the occasional exercise of traditional managerial hierarchy and control. Theoretically, the article develops a dramatist perspective, combining Goffman's symbolic interactionism and Burke's dramatism to offer a framework for understanding norm-transgressive management in modern organizations.

This article explores how an allegedly 'non-hierarchical' and aestheticized managerial practice reconfigures power relations within a creative industry. The key problematic is 'governmental' in the sense suggested by Michel Foucault, in as much as the manager's ethical self-practice—which involves expressive and 'liberated' bodily comportment—is used tactically to shape the space of conduct of others in the company. The study foregrounds the managerial body as 'signifier' in its own right. Empirically, this is done through an analysis of video material produced by the film company Zentropa about their apparently eccentric Managing Director, Peter Aalbæk. Contrary to much of the literature discussing embodiment and ethics in organization studies, we do not identify an 'ethics of organization' dominated by instrumental rationality, efficiency and desire for profit which is ostensibly juxtaposed to a non-alienating, embodied ethics. Rather, when the body becomes invested in management, we observe tensions, tactics of domination and unpredictability.

This article explores how an allegedly 'non-hierarchical' and aestheticized managerial practice reconfigures power relations within a creative industry. The key problematic is 'governmental' in the sense suggested by Michel Foucault, in as much as the manager's ethical self-practice—which involves expressive and 'liberated' bodily comportment—is used tactically to shape the space of conduct of others in the company. The study foregrounds the managerial body as 'signifier' in its own right. Empirically, this is done through an analysis of video material produced by the film company Zentropa about their apparently eccentric Managing Director, Peter Aalbæk. Contrary to much of the literature discussing embodiment and ethics in organization studies, we do not identify an 'ethics of organization' dominated by instrumental rationality, efficiency and desire for profit which is ostensibly juxtaposed to a non-alienating, embodied ethics. Rather, when the body becomes invested in management, we observe tensions, tactics of domination and unpredictability.

The interest in organizational play is growing, both in popular business discourse and organization studies. As the presumption that play is dysfunctional for organizations is increasingly discarded, the existing positions may be divided into two camps; one proposes 'serious play' as an engine for business and the other insists that work and play are largely indistinguishable in the postindustrial organization. Our field study of a design and communications company in Denmark shows that organizational play can be much more than just functional to the organization. We identify three ways in which workplaces engage in play: play as a (serious) continuation of work, play as a (critical) intervention into work and play as an (uninvited) usurpation of work.