Suchergebnisse

Purpose
The literature so far has shown that perceptions of managerial interventions matter for motivation and performance. However, how these perceptions are formed and develop over time is less clear. The purpose of this paper is to fill part of this gap.


Design/methodology/approach
The paper uses a panel case study to investigate how perceptions of a managerial intervention are formed and developed over time among daycare workers in a Danish municipality.


Findings
The paper reveals the dynamic nature of preferences and the centrality of the local manager in perception formation, illustrating that it is not necessarily the implementation style (soft/hard) that is important as much as the managerial involvement in the initiative.


Practical implications
Whereas managers are still well advised to consider the pros and cons of a hard vs a soft implementation approach, this paper also underlines the importance of constant managerial involvement not only to ensure implementation but also to continuously impact the way managerial interventions are perceived.


Originality/value
The paper adds to the existing knowledge about perception formation by using a panel case study, hence illustrating the dynamic character of perception formation.

We can see a theft, hear a lie, and feel a stabbing. These are morally important perceptions. But are they also moral perceptions--distinctively moral responses? In this book, Robert Audi develops an original account of moral perceptions, shows how they figure in human experience, and argues that they provide moral knowledge. He offers a theory of perception as an informative representational relation to objects and events. He describes the experiential elements in perception, illustrates moral perception in relation to everyday observations, and explains how moral perception justifies moral judgments and contributes to objectivity in ethics. Moral perception does not occur in isolation. Intuition and emotion may facilitate it, and be elicited by it. Audi explores the nature and variety of intuitions and their relation to both moral perception and emotion, providing the broadest and most refined statement to date of his widely discussed intuitionist view in ethics. He also distinguishes several kinds of moral disagreement and assesses the challenge it poses for ethical objectivism. Philosophically argued but interdisciplinary in scope and interest, Moral perception advances our understanding of central problems in ethics, moral psychology, epistemology, and the theory of the emotions

The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure—he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis's recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media-technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to it, a situation that prevents contact with the outside. His films are about what he calls "destabilized perception," but importantly they are also a function of this condition, one that in turn demands a shift in how we conceive the essay film in the twenty-first century.

Things that tilt and things that are stable

Despite her status as an unpaid "resident visitor" for most of her nearly two-decade tenure there, Lillian Schwartz created some of the most important works of early computer art at Bell Labs. This essay unravels the conceptual frameworks of "vision" as they manifest in Schwartz's early computer films made between 1970 and 1972, with a specific emphasis on vision as "information" and "data." It argues that these specific films in Schwartz's oeuvre explored a newly emerging model of vision based on the rendering practices of computers and scientific instruments, while navigating the fraught question of the role of the embodied viewer. Resisting this rationalized order of vision, which would ultimately result in the emergence of information as both a commodity and an asset class, Schwartz's films instead explore the contingencies of rendering information with the newly developing medium of the computer.