Dear all,

the closing date is January 11 (Thanks to David for pointing it out).

We really look forward to receiving your creative submissions.

Garance.

Dr Garance Marechal
The University of Liverpool Management School



-----Original Message-----
From: Aesthetics, Creativity, and Organisations Research Network on behalf of David Weir
Sent: Tue 30/12/2008 09:49
To: [log in to unmask]
Subject: Re: BARCELONA PASSION CALLING YOU

----- 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 -----