scholarly journals Put Your Style at Stake: A New Use of Sustainable Entrepreneurship

2017 ◽  
Vol 39 (2-3) ◽  
pp. 397-415 ◽  
Author(s):  
Christian Garmann Johnsen ◽  
Lena Olaison ◽  
Bent Meier Sørensen
Keyword(s):  
Creative Process ◽  
Environmentally Friendly ◽  
Social Practices ◽  
Organization Studies ◽  
Sustainable Entrepreneurship ◽  
Conceptual Distinction ◽  
The Creation ◽  
Point Of Departure

This article uses the concept of style to rethink sustainable entrepreneurship. Our point of departure is the conceptual distinction between organization as style made durable and entrepreneurship as the disruption of style. We show that style is not simply an aesthetic category, but rather what ties different social practices together. While organization makes the connections between social practices durable, entrepreneurship disrupts such patterns. We further elucidate how organization and entrepreneurship are two intermingled processes – those of durability and disruption – that together enable the creation of new styles. In order to conceptualize this creative process, we explore how play can create disharmonies within the organization, but we also maintain that any new practice will remain marginal without a collective assemblage capable of adopting it. On this basis, we argue that sustainable entrepreneurship consists of making an environmentally friendly and socially conscious style durable, but also of disrupting such a style. In order to illustrate our argument, we use the example of the sustainable smartphone producer Fairphone. In conclusion, we argue that the concept of style may strengthen the dialogue between entrepreneurship studies and organization studies.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

scholarly journals Deltagelsens kunst?

2014 ◽  
Vol 42 (118) ◽  
pp. 51-68 ◽  
Author(s):  
Judith Schwarzbart ◽  
Kristine Samson
Keyword(s):  
The Social ◽  
Individual Actor ◽  
The Creation ◽  
The Individual ◽  
The City ◽  
Point Of Departure

Within recent years, art and urbanism have gradually moved closer to each other and come together around socially engaged, dialogical projects. Participation and the creation of urban publics are topics that often concern artists as well as urban planners and activists. Based on a record of this recent conjunction between art and urbanism, the article examines practices, fractures, and conflicts in the aftermath of the social turn. With a point of departure in the coalescing public programme of the Istanbul Biennial and Occupy Gezi at Taksim Square in 2013, the article questions the art of participation. What type of public is created in the participative art? And is an artistic social turn towards the city even possible beyond the art institution? The article concludes that precisely in the conflict between the two different rationales of art and urbanism a participatory, urban public can emerge; a public, however, which lie beyond the intention and rationales of the individual actor.

scholarly journals Mapping the history of codification

2018 ◽  
Vol 112 ◽  
pp. 485-508
Author(s):  
Jean Louis Halpérin
Keyword(s):  
The Political ◽  
New States ◽  
History Of ◽  
The Creation ◽  
The Law ◽  
Civil Codes ◽  
Point Of Departure

Bentham has defended the idea of a general codification as a “map of the law” that could allow the comparison between the laws of different nations. This essay aims to use this relationship about the ideas of codifying the law and mapping the laws to think about the possibility of mapping the history of codification, taking as its point of departure the writing specialized codes - not only the civil codes. Mapping can be a means to deal with the relationships between the countries adopting a code, the opportunity to consider the relationships between the codes and the creation of new States, the national processes of unification, the adoption, the political and social revolutions and ruptures. Also, it will try to make correspondences between these phenomena in order to construct tables that could be represented through future maps.

Radical isomorphism and the anti-authoritarian diffusion of leaderless organizations

2017 ◽  
Author(s):  
Dana M. Williams
Keyword(s):  
Social Movements ◽  
Word Of Mouth ◽  
Critical Mass ◽  
Social Practices ◽  
Institutional Isomorphism ◽  
The Internet ◽  
Organizational Forms ◽  
Mainstream Media ◽  
The Creation ◽  
Central Organization

Social movements are interested in the creation of alternative social practices, but must rely upon previous ideas and actions for a starting place. Ideally, anarchists seek to borrow good ideas and avoid bad ideas. This is challenging given anarchist movements’ horizontalist structures—tactics and organizational forms must be transmitted non-hierarchically in order to remain legitimate, as there is not central organization managing, authorizing, and dictating to new anarchist organizations. They key means for institutional isomorphism—how organizations tend to have comparable characteristics—with anarchist movements, is mimicry. This chapter analyses the creation and founding iterations of four “anarchistic franchise organizations”: Anti-Racist Action, Critical Mass, Earth First!, and Food Not Bombs. These tactics and organizational forms have spread through networks of activists and organizers (mainly via word-of-mouth and first-hand experience) and media (especially the Internet, as well as activist press and sometimes mainstream media).

Chance and Indeterminacy in Music

Artful Noise ◽  
2020 ◽  
pp. 97-106
Author(s):  
Thomas Siwe
Keyword(s):  
Creative Process ◽  
Compositional Style ◽  
John Cage ◽  
Square Root ◽  
Compositional Process ◽  
Morton Feldman ◽  
Use Of Time ◽  
Early Use ◽  
The Creation

The incorporation of degrees of chance in the creation and realization of music captured the imagination of composers in the late 1950s and early 1960s. Led by the American iconoclast John Cage—the most prominent champion of chance and indeterminacy—composers began to include chance operations in the creative process. In so doing, they relied upon the performer to understand each work’s compositional style and to respond to and interpret the notation used, often graphic in form. This chapter examines the percussion works of John Cage, Morton Feldman, Roman Haubenstock-Ramati, and Herbert Brün. Cage’s transition from his use of the square root formula to his relinquishing control over every aspect of the compositional process is explored through his works 27’ 10.554” and Child of Tree. Feldman’s use of “time boxes” in the percussion solo The King of Denmark and his desire to remove both pulse and attack from his music is illustrated. Brün’s early use of a computer to create music brings the chapter to a close.

From creation to diffusion: building historical archives at Cirque du Soleil

2002 ◽  
Vol 27 (2) ◽  
pp. 16-17
Author(s):  
Emmanuella Saint-Denis
Keyword(s):  
Creative Process ◽  
Cirque Du Soleil ◽  
Historical Archives ◽  
The Creation

The importance of the creative process at Cirque du Soleil informed the establishment of its Documentation Centre nine years ago. The desire for conservation, a concern of the founding president as early as 1984, was initially related to the need to use earlier documents and materials in the creation of shows, rather than a desire to preserve history. Subsequently, the role of the archives has evolved and today Cirque du Soleil values the importance of memory and has put various tools in place to facilitate the collection and conservation of its history.

Protected Interests in The Law of Torts

1963 ◽  
Vol 21 (1) ◽  
pp. 85-103 ◽  
Author(s):  
K. Lipstein
Keyword(s):  
General Principle ◽  
Common Law ◽  
Western World ◽  
The Creation ◽  
The Law ◽  
The Individual ◽  
Principle Of Liability ◽  
Point Of Departure

Introduction: TheProblems(1) Whichever is taken as the point of departure, a general principle of liability for injurious acts done intentionally or negligently, or a catalogue of individual protected interests, and whatever the wish to establish criteria of general liability, a comparison between some of the leading systems of the law of the Western World—both civil and common law—shows that it is impossible to get away from the individual situation, irrespective of the force of an existing, or the desire for the creation of, a general principle.

Thinking out of the box

2020 ◽  
Vol 3 (1) ◽  
pp. 64-94
Author(s):  
Romy A. M. van den Heerik ◽  
Ellen Droog ◽  
Melanie Jong Tjien Fa ◽  
Christian Burgers
Keyword(s):  
Social Media ◽  
Creative Process ◽  
Different Types ◽  
Internet Environment ◽  
Metaphor Production ◽  
The Creation

Abstract Metaphor production is a creative process of thinking out of the box, which can be of great communicative value to language users. In this study, we explored how metaphor production can be stimulated by different types of cues in an internet environment. Participants (N = 318) were invited to co-create a metaphorical campaign slogan in a social media setting with randomly selected sets of real campaign slogans. We measured how linguistic (metaphor markers) and social media cues (likes) prompt direct metaphor. Results show that the metaphor marker ‘so’ stimulated metaphor production. Likes for previously posted metaphorical slogans did not affect the creation of a metaphor. We found a correlation between the actual and self-perceived creativity of the co-created slogans. Besides, the co-created metaphors both echoed and deviated from previously posted campaign slogans, leading to different degrees of creativity. Co-creation in a social media setting seems a fruitful environment for metaphor production.

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