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Sent: Tue, 30 Dec 2008 09:46:31 +0000
From: David Weir <[log in to unmask]>
To: [log in to unmask]
Subject: Re: BARCELONA PASSION CALLING YOU

> -Hi Pierre;
> what is the closing date?
> 
> All best for 2009
> David
> ---- Start Original Message -----
> Sent: Tue, 30 Dec 2008 00:12:52 +0100
> From: Pierre guillet de Monthoux <[log in to unmask]>
> To: [log in to unmask]
> Subject: BARCELONA PASSION CALLING YOU
> 
> > 
> > WE WELCOME YOUR CONTRIBUTION FOR THE EGOS 2009 CONFERENCE IN BARCELONA
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> 
> 
> SEND US YOUR PAPER FOR TRACK 37
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> 
> 
> AND AT PASTIS BAR WE´LL TACKLE THE REAL ISSUE
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> 
> 
> AND TALK ABOUT THE THING
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> 
> 
> WORTH TALKING ABOUT
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> 
> 
> NAMELY;
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> 
> 
> PASSION
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> 
> 
> SO REMEMBER JOINING SUBTHEME 37
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> 
> 
> Sub-theme 37:
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> 
> 
> "So what do you do?" The art of practice in the 21st century organization
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> 
> Upload Short Paper: Login Required
> 
> Convenors:
> 
> Garance Maréchal, University of Liverpool Management School, UK
> 
> [log in to unmask]
> 
> Pierre Guillet de Monthoux, Stockholm University, Sweden
> 
> [log in to unmask]
> 
> Stephen Linstead, University of York, UK
> 
> [log in to unmask]
> 
> 
> Call for Papers
> ---------------
> 
> Passion and the Arts are unthinkable apart &#8211; passion gives rise to
> creativity, the arts inspire passion. But passion can also be defined as
> pain and as a burden: the suffering that an artist endures with the hope
> to create art. Similarly, art is not only about beauty. Art also alerts
> us to the ugliness, evil and suffering in the world. The picture of
> organizations that we get from popular culture is often a critical one
> but the arts are increasingly held up as having the potential to
> revitalize them. Creativity is what contemporary organizations will
> supposedly need for the future, but is artistic creativity so easily
> transferable across domains?
> 
> Art itself is practice. It requires discipline&#8230; a form of passion.
> Passionate engagement makes art, in creation and reception, both personal
> and a construction by its interpreters. Can organizational contexts
> nurture the creative expression of inspiration? Are innovation or
> performativity the only valued outcomes of creativity in organizations?
> Are there less obvious or everyday creative practices &#8211; such as
> play &#8211; that go unnoticed but are no less passionate and important?
> 
> Even appreciative consumers and audiences sometimes wonder (and art and
> creative practitioners are often asked), "So what do you do?" Creative
> and interpretive constructions, or aesthetics, are socially shared and
> negotiated&#8211; they involve power relations. Politics, for Jacques
> Rancière, is itself aesthetic because it engages in a partitioning of
> social experience, creating "forms" of life: the "partition of
> sensibility". How political is the contemporary aesthetics of
> organization?
> 
> The paradox surfaced by aesthetic approaches is that specific
> organizational practices remain fluid and resist definition at the levels
> of both skills and concepts. For instance, aesthetic leadership can make
> space for followers to be fully creative and passionately committed
> members of the organization paying attention to affective as well as
> operational issues, but how this is accomplished is often mysterious and
> elusive. Do learning, strategy, marketing, communication, and training
> and development display similar paradoxes? Do we need to think
> motivation, vision, transformation and desire, differently? Can we speak
> of passionate administration? Is Maslow&#8217;s hierarchy also
> Shakespeare's? Powerful and demanding roles may be a threat to the
> actor&#8217;s sense of self. What burdens do new organizational forms and
> fluid roles place on practitioners and their identities?
> 
> As well as these considerations, this stream invites submissions
> addressing a range of issues relating to the art of practice. We are
> especially interested in three broad questions:
> 
> 1. Is passionate practice different in art and organization?
> To what extent can management and organizational practices be considered
> art, and to what extent can the domains learn from each other? Are
> managers flattering themselves when they consider management to be an
> art? Are musicians and actors and painters "selling out" when they engage
> in commercial consultancy? Is "play" trivial or a critical skill for
> creative living and organizing?
> 
> 2. Can the arts offer a basis for transformation or regeneration of
> organizations and social regions?
> "Creative cities" and "cultural regeneration" are terms often deployed to
> suggest that art and business can together offer the potential to build
> post-industrial economies and the type of flexible creative firms that
> are needed to succeed within them. Are art and organization&#8217;s
> interests incommensurable? Or do we need to recognize that art,
> creativity and business have always been implicated in each other, and
> the challenged is to find the best 21st century means of developing these
> relations?
> 
> 3. How can the "poetics" of managerial practice be explored through
> arts-based methods and methodologies?
> Short courses and high impact consultancies have been with us for some
> time, but recently projects with longer time-cycles, such as
> practice-based doctorates, using arts methods have been developed &#8211;
> and the "evidence" base is growing. What have we learned? What are we
> learning? What do we need to learn and how?
> 
> We invite papers that may be theoretical, case based or methodological in
> orientation. That cross boundaries in engaging arts and organizational
> practice and that may be transgressive in thought, mode or proposed
> presentation. Abstract and theoretical papers need to address practice
> knowledgably; engaged and performative contributions need should evidence
> sustained, considered, theoretically informed reflection. Considerations
> of our own passionate academic practices, and are autoethnographic or
> performance led, are also welcome.
> 
> Garance Maréchal is Lecturer in Strategy at the University of Liverpool
> Management School (UK) She has a PhD (2006) from the Université
> Paris-Dauphine in which she researched knowledge practices from a radical
> constructivist perspective. Her interest in the passion of knowing
> encompasses the subjective experience of the researcher, the art of
> creative processes of problem solving in consultancy and the application
> of artistic approaches to methodology.
> 
> Pierre Guillet de Monthoux is Professor of General Management at
> Stockholm University (Sweden) and runs the European Centre for Art and
> Management (Stockholm). He has recently authored "The Art Firm: Aesthetic
> Management and Metaphysical Marketing from Wagner to Wilson" (2004) and
> co-edited "Aesthetic Leadership" (2006). He holds seminars on art and
> aesthetics for top executives, curates exhibitions, and stages
> performances hybridizing art and management.
> 
> Stephen Linstead is Professor of Critical Management at the University of
> York (UK). Co-editor of "The Aesthetics of Organization" (2000) with
> Heather Höpfl he co-convened the EGOS SWG on the "Philosophy of
> Management" from 2001&#8211;2006 and co-founded the bi-annual "Art of
> Management and Organization Conference".
> 
> 
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> 

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