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----- Start Original Message ----- 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 > ---------------------------------------------------------------------- > > > SEND US YOUR PAPER FOR TRACK 37 > ------------------------------- > > > AND AT PASTIS BAR WE´LL TACKLE THE REAL ISSUE > ---------------------------------------------- > > > AND TALK ABOUT THE THING > ------------------------ > > > WORTH TALKING ABOUT > ------------------- > > > NAMELY; > ------- > > > PASSION > ------- > > > SO REMEMBER JOINING SUBTHEME 37 > ------------------------------- > > > Sub-theme 37: > ------------- > > > "So what do you do?" The art of practice in the 21st century organization > ------------------------------------------------------------------------- > > 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 – 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… 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 – such as > play – 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– 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’s hierarchy also > Shakespeare's? Powerful and demanding roles may be a threat to the > actor’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’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 – > 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 2001–2006 and co-founded the bi-annual "Art of > Management and Organization Conference". > > > ----- End Original Message ----- > ----- End Original Message -----