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As collaborative artistic inquiries, studios challenge logical–analytical approaches to knowledge. Studio activities entail materializing artifacts to explore a range of management and organization issues. Theoretical references are currently needed to keep pace with the growing interest in studio-informed pedagogy. Inspired by organizational aesthetics, my article engages with Luigi Pareyson's hermeneutic–aesthetic philosophy of production and theory of formativity for new understandings on the art of "learning-by-making" studio practices. Based in sensory knowing, formativity—conceptualized as aesthetic formativeness—denotes how artistic "making/doing" unfolds through trial and error, socio-material processes involving simultaneous invention and production. Building on previously established analytical distinctions for studying formativeness dynamics in practice, studio experimentations with two distinct MBA cohorts are explored. Excerpts from these studio accounts guide the reader through students' creative formative adventures. Extensions to the initial conceptual framework are put forward with the aim of contributing more nuanced aesthetic insights on studio-based education. Practical implications and future directions are considered.

This paper seeks to aesthetically explore the relationship between passion and knowledge. Some of the challenges associated with aesthetic readings surround the location, evocation and representation of multi-sensory experiences and aesthetic expressions. Place-based research indicates that places are important for both aesthetics and meaning. This symbiotic connection between aesthetics and `senses of place' opens an important gangway through which to embark on a journey to locate, evoke and represent the `aesthetic dimension' of seascapes and shipboard life. Conversations with 34 Norwegian seafarers support the relationship between passion and knowledge anchored in seascapes; provide the researcher with a familiar harbour for an impassioned aesthetic reading. Reflections along the voyage consider the importance of an `integrated aesthetic approach' (Brady, 2003) which includes a double focus: on both the aesthetic experiences of organizational members and on the places wherein these experiences are aroused. This aesthetic reading also attends to the `aesthetics' of aesthetic research.

There is considerable attention to increasing judicial diversity along a range of dimensions, in particular, gender. Women remain underrepresented in many courts, especially at the higher levels of the judiciary. A comprehensive socio‐legal study of the Australian judiciary compares experiences and attitudes of women who have become judicial officers at different levels of the court hierarchy. Understanding their personal and professional backgrounds and the features that attracted them to the judiciary has important implications for addressing gender disparity. Effective recruitment and selection must focus on the expectations and experiences of women in relation to particular judicial contexts.

This article examines the judgecraft required when judicial officers actively manage the time pressures created by long and unpredictable case lists. It considers the implications of this time management for the legitimate exercise of judicial authority. In particular, we focus on the strategy of altering the temporal sequence of the list by standing matters down and recalling them later in the list. This strategy, especially when initiated by the judicial officer, is analysed in light of the temporal goals of getting through the list on the day and moving cases along towards final resolution, and the ideological and practical requirements of legitimate judicial authority within the adversary system. The article is based on a court observation study of the general criminal list, concentrating on the role of the presiding judicial officer — the magistrate — in the lower courts of Australia. The research demonstrates that magistrates exercise considerable judgecraft which achieves temporal goals and can create space for a more engaged and therefore more legitimate decision-making process; however, their capacity to do so is limited by the judicial role and the roles allocated to others by conventional adversarial norms and practices.

Relatively little attention has been paid to lower courts' capacity to bring about social change, despite the fact that most citizens who come into contact with the judicial system will have their case considered (and most likely only considered) by these courts. Often these citizens experience a range of problems that are social in origin, including precarious employment, welfare dependence, financial hardship, and various health problems, including mental health and drug dependency. Magistrates courts must respond to social change and its human fallout and, in so doing, can contribute to progressive social change in a local, personal, and incremental way.

Much of the literature on feminist judging concentrates on judges and judging in appellate and superior courts. This article extends that literature by investigating whether and how feminist judging manifests in lower courts, which deal with the vast bulk of criminal offences and civil claims. It does so through analysis of transcripts of non-trial criminal proceedings in Australian magistrates courts, focusing on judicial practices rather than gender or other known characteristics of the magistrates. Clear instances of feminist judging are relatively rare. Where they occur, they are often in the form of isolated feminist 'moments' rather than a magistrate exhibiting a distinct feminist orientation. The article reflects on what these finding suggest about the nature of judging in lower courts and the possibilities for feminist judging in that context.

Research into sentencing is undertaken from a range of theoretical, disciplinary and methodological perspectives. Each approach offers valuable insights, including a conception of the judge, sometimes explicit, often implicit. Little scholarly attention has been paid to directly interrogating the ways in which different research traditions construct the judge in the sentencing process. By investigating how different research approaches locate the judge as an actor in sentencing, theoretically and empirically, this article addresses that gap. It considers key examples of socio-legal scholarship which emphasise the judge as operating within experiential, emotional and social, as well as legal dimensions. This growing body of research offers a more social, relational and interactive understanding of the judge in sentencing, extending and complementing the valuable, but necessarily limited, insights of other research approaches about the place of the judge in sentencing.