Suchergebnisse

Intro -- Contents -- Contributors -- List of Tables -- 1 Breakfast Was My Idea -- References -- 2 Soft Targets -- Act I: The World Without -- Act II: The Polka Within -- Commentary by Dawn Elm (University of St. Thomas) and Sandra Waddock (Boston College) -- References -- 3 Capitalist Pigs -- ACT 1 -- ACT II -- Commentary by Melissa Baucus (Texas State University) -- The Experience of Acting -- The Play's "Message" for Teaching -- The Importance of Stories -- Conclusion -- References -- 4 Blasphemy & Doubt -- Commentary by Aliki Nicolaides (University of Georgia), Aftab Erfan (University of British Columbia), and David McCallum (Lemoyne College) -- David McCallum on Social Constructivism -- Aliki Nicolaides on Loops of Learning and Feedback -- Aftab Erfan on Action Logics -- Ending -- Reference -- 5 Cow Going Abstract -- Commentary by Jan Rae (London South Bank University) -- References -- 6 The Invisible Foot -- Commentary by Peter Rivard (Suffolk University) & Rich Dejordy (California State University, Fresno) -- References -- 7 The Age of Loneliness -- Commentary by Allan Owens (University of Chester), Anne Pässilä (Lappeenranta University of Technology), and Tatiana Chemi (Aalborg University) -- "I shot her twice": negotiating meaning in staged readings -- References -- 8 Through the Reading Glasses -- Through the Reading Glasses -- Commentary by Carol H. Sawyer (University of La Verne) -- An active, dynamic process -- References -- 9 Using Plays -- References -- Index

My vision of the future: The business school is not an architectural masterpiece across the river from the main campus. It now sits squarely in the middle of campus, a slightly worse for the wear place where students of all disciplines come and go. On campus, it is not even called The Business School. Instead, it goes by its nickname, "The School of Getting Shit Done." Small teams of students are gathered in small conference rooms working on projects to bring the work of the engineers, the artists, and the scientists into the wider world. They build the organizations that allow the rest of the university to have impact and fulfill its mission of benefiting society. This is where the business artists of the future learn their craft as they work with their peers across campus. Like most artists, they learn to work in many mediums, including money and buzz and connection between people. The faculty wander in and out of the business studios, offering practical demonstrations of craft skill, hands-on advice, and critique sessions. And you can feel the energy, you can feel that, indeed, shit is getting done.

Rigorous reflection for the purposes of learning about and changing our own behavior as the foundation of an organizational change process (in the action science tradition) can include representing our tacit knowing with an artistic form and then applying explicit analytic techniques to the artistic form to generate actionable explicit knowing. This process is illustrated with an example of a collaborative off-line reflection process based on a presentational (or artistic) representation in which I learned in what ways and in which conditions I cooperate with and re-enforce power systems rather than speaking to or fighting the power. This process suggests: 1) the need for first person research in order to act as a third person change agent; 2) the need for second person research in order to do first person research; 3) the need to use multiple forms of representation and; 4) the advantages of presentational forms.

Direct questioning about the 'felt sense' of organizational actions or artefacts is an accepted way to explore organizational members' aesthetic experience. However, this requires organizational members to be able to talk about their aesthetic experience, to translate that felt sense into language. I suggest this is often difficult due to aesthetic muteness, which is a significant problem, not just for research but for organizational practice in general. I use empirical data to illustrate how this aesthetic muteness is manifested in the research process as organizational members' difficulty in approaching their experience from an aesthetic perspective, reframing from 'feeling' to 'thinking', inability to recall aesthetic experience and denial of aesthetic experience. I then speculate that aesthetic muteness might be caused by threats to harmony, efficiency and images of power and effectiveness and that the consequences of aesthetic muteness are aesthetic amnesia, a narrowed conception of organizational aesthetics and aesthetic stress.

Organizational scholars and neuroscientists suggest that when people are more emotionally engaged, they learn more effectively. Clinical art therapists suggest that the experience as well as the expression of emotions can be enabled or constrained by different materials. So then, what materials can be employed by management educators to achieve optimal levels of emotional engagement? In this essay, we begin to answer this question by discussing the ubiquitous material aspects of management learning by exploring the complex relationships involving materials, emotions, and learning, and by presenting a set of practical ideas about how management educators can become more adept at designing and facilitating learning processes that effectively engage students' emotions through the use of materials such as clay, LEGO bricks, and paper.

The first volume of this ground-breaking book critically examines how and why arts-based methods such as choir conducting workshops and dialogue improvisation can make a difference in improving professional practice. Taking a 'human-centred' approach, it delivers an insightful account of what these approaches do differently to achieve a new mode of learning - 'sensuous learning' - that cultivates professional judgment to serve the common good, simultaneously supporting personal and collective growth. The chapters present cutting edge examples of multiple ways arts-based methods underpin learning arenas for expanding leadership and improving professional practice. The reflexivity cultivated through these learning arenas has the unique potential to improve professional practice, not merely by enhancing competence but also by cultivating character and conscience, which is central in making judgments that serve the common good. These benefits are relevant for professional practitioners sharpening the skills and behaviours needed in organisations, including creativity, diversity, imagination, and improvisation.