in

Art and Aesthetics

Editorial matter, choice and Chapters 1, 5 and 9 © Adrian Carr and Philip Hancock 2003 Other chapters (in order) © Adrian Carr; George Cairns and Tamar Jeffers; Mary-Ellen Boyle; Catrina Alferoff and David Knights; Nick Nissley, Steven S. Taylor and Orville Butler; Nancy Harding; Astrid Kersten and Ronald Gilardi; Karen Dale and Gibson Burrell; Philip Hancock 2003 All rights reserved. No replica, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or underneath the phrases of any licence allowing restricted copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP.

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First published
2003 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representative throughout the world PALGRAVE MACMILLAN is the global tutorial imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark within the United States, United Kingdom and other international locations. Palgrave is a registered trademark in the European Union and other international locations. ISBN 0–333–96863–8 This book is printed on paper appropriate for recycling and created from totally managed and sustained forest sources.

A catalogue report for this guide is on the market from the British Library. Library of Congress Cataloging-in-Publication Data Art and aesthetics at work / edited by Adrian Carr & Philip Hancock. p. cm. Includes bibliographical references and index. ISBN 0–333–96863–8 1. Organization—Philosophy. 2. Work—Philosophy. 3. Aesthetics. 4. Art and business. I. Carr, Adrian, 1951– II. Hancock, Philip, 1965– HM786 .A78 2002 302.395901—dc21 2002075803 10 12 9 eleven 8 10 7 09 6 08 5 07 four 06 3 05 2 04 1 03

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Contents
List of Plates Preface Acknowledgements Notes on the Contributors vii viii xii xiii

Part I Art and Aesthetics as a Way of Knowing Organization
1 Art and Aesthetics as a Way of Knowing Organization: Introduction Adrian Carr and Philip Hancock 2 Art as a Form of Knowledge: The Implications for Critical Management Adrian Carr 3 Looking into/out of* Organizations by way of the Rear Window: Voyeurism and Exhibitionism in Organization Studies (*delete as appropriate) George Cairns and Tamar Jeffers four Reconciling Aesthetics and Justice in Organization Studies Mary-Ellen Boyle 3

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Part II
5

Work as an Aesthetically Ordered Activity
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Work as an Aesthetically Ordered Activity: Introduction Philip Hancock and Adrian Carr

6 We’re All Partying Here: Target and Games, or Targets as Games in Call Centre Management Catrina Alferoff and David Knights 7 The Power of Organizational Song: An Organizational Discourse and Aesthetic Expression of Organizational Culture Nick Nissley, Steven S. Taylor and Orville Butler

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8 On the Manager’s Body as an Aesthetics of Control Nancy Harding

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Part III

Critical Engagements with Aesthetics at Work
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9 Critical Engagements with Aesthetics at Work: Introduction Philip Hancock and Adrian Carr 10 The Barren Landscape: Reading US Corporate Architecture
Astrid Kersten and Ronald Gilardi An-Aesthetics and Architecture Karen Dale and Gibson Burrell

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12 Aestheticizing the World of Organization – Creating Beautiful Untrue Things Philip Hancock References Index

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195 210

List of Plates
1 2 3 4 5 6 Hands Bakers Soft and Hard Targets Ceiling Mobile on Four Part Call Left of Tower Right of Tower

These could be discovered between pages 112 and 113

vii

Preface
Over latest years the sector of organization research has exhibited an rising curiosity in the aesthetic dimension of work and its group. Whilst this interest might have been awakened, extra generally, by the publication of such philosophically oriented works as Eagleton’s The Ideology of the Aesthetic (1990) and Welsch’s Undoing Aesthetics (1997), it should even be understood in relation to a sequence of developments inside the subject itself during the last three many years or so. The shift from an nearly solely objectivist method to the analysis of organizational follow exemplified in Weick’s The Social Psychology of Organizing (1969) and Silverman’s The Theory of Organizations (1970), for example, signified a
vital step along the trail towards an acceptance of the relevance of sensuality to understanding the rich tapestry that’s organizational life. Of equal, and perhaps larger up to date importance, has been the groundbreaking work specializing in manifestations of organizational culture and symbolism (Turner, 1990; Alvesson and Berg, 1992) with the Third International Conference on Organizational Symbolism (1987) whose theme was ‘The symbolics of corporate artifacts’, notably noteworthy, ensuing because it did in the publication of a selection of papers (see Gagliardi, 1990a) that helped to inform and focus the sphere of group research on the presence of an aesthetic sensibility. Subsequently, a range of printed contributions to the sector have been forthcoming, including particular person journal articles (Carr, 1997; Guillén, 1997; Rustead, 1999; Carr and Zanetti, 2000) thematic editions of journals (Organization, 1996; Human Relations, 2001), chapters in edited collections (Hancock and Tyler, 2000; Thompson, Warhurst and Callaghan, 2000), edited books (Linstead and Höpfl, 2000a) and monographs (Strati, 1999), a lot of which have been characterized by the work and concepts of scholars who draw significantly on a variety of radical traditions throughout the social sciences, together with crucial theory, poststructuralism and postmodernism. Furthermore, along with such tutorial and critically oriented choices, more populist administration writers are also beginning to contribute significantly to the diffusion of aesthetic ideas throughout the enterprise world. For instance, constructing on the work of writers on corporate identification and design corresponding to Olins (1989), the likes of Dickinson and Svensen (2000) have sought of their millennium manifesto, Beautiful Corporations: Corporate Style in viii

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Action, to argue the case for an organizational aesthetic that expresses beauty and magnificence by way of everything from physical design to company ethics and environmental duty. It is to this embryonic, if albeit increasingly flourishing body of research and literature within management and business studies that this edited quantity seeks to each contribute and
help take beyond its current stage of improvement.

Rationale
Art and Aesthetics at Work, while an ambiguous title is not one that was deliberately contrived to be so. Initially, it was conceived of merely as an outline of the subject matter of the volume. That is, what the various contributors contemplate to be the function and opportunities that art and aesthetics are more and more coming to play within the research and follow of labor organizations. However, it rapidly turned clear that an alternate meaning, implicit within the title’s semantic construction, also had great relevance for the amount. For, what many of the chapters contained inside this assortment are at pains to think about just isn’t only the presence of art and aesthetics within the everyday lifetime of the workplace, but equally, how these are increasingly put to work within the service of a spread of organizational aspirations and targets, or, alternatively, how they will present a spread of novel and informative insights into the structuring and upkeep of organizational actions, particularly those which depend on the continued existence of asymmetrical relations of power and management. Aesthetic expertise is thus differentially conceptualized at varied stages throughout this quantity, not only as an consequence of divergent terms of reference or theoretical agendas, but also as a consequence of the positioning and functioning that is ascribed to it within the organizational domain of work. The existence of ambiguity shouldn’t, in fact, provide any great shock for those familiar with the equally ambiguous historical past of the aesthetic itself. While the origins of the idea could be traced again to antiquity, its contemporary utilization stays extremely contested. Originally conceived of within the work of Baumgarten (1753/1954), as the systematic study of sensual and affective dimension of human experience the on a daily basis that means and usage of the term has shifted and adjusted considerably over the following centuries. Yet at present, while it’s nonetheless more more probably to be understood in relation to the categorization and judgment of artwork, a lot of Baumgraten’s original conception of its nature remains in proof, significantly in work impressed by the crucial interrogation of

x Preface

modernity associated with important principle and postmodernism. Such a broad engagement with the aesthetic, because the realm of sensual experience, can be, therefore, as necessary to the work contained inside this assortment, as is its more traditional affiliation with the realm of artwork and creative follow. Such divergences, ambiguities and contestations are due to this fact the lifeblood of the aesthetic and, as such, it is our hope because the editors that through the combo of worldwide and established writers and students, and new or emerging academics throughout the area of organization and administration research, we’ve been capable of provide a style of this. Furthermore, we additionally anticipate that in doing so we have produced a volume that may but provide an insightful, eclectic, and perhaps in some circumstances iconoclastic overview of the increasing relevance of aesthetics and aesthetic theory for the ongoing growth of a important understanding of contemporary work organizations.

Structure
While all the fabric inside the collection can, and certainly ought to be understood as inter-related, the collection, for ease of use and accessibility, is divided into three thematic components each of which is prefaced by an editorial introduction that serves to supply a quick overview of the context and main issues arising from the contributions. Part I deals with what is maybe the predominant theme amongst writers as regards to aesthetics and group, the chance aesthetics and in addition, significantly, art presents as a means of knowing organization; that’s as an epistemological framework inside which research of work and its group could also be developed so as to intensify its sensitivity to the non-cognitive, non-rationalized dimension of everyday organizational experience. Included here’s a revival of a practice that might be traced to the sector of sociology where some, notably these of the Frankfurt School, have instructed that art and aesthetics represents a definite form of information, and as having a language-like character. It is in such a context that some writers in group studies (see Carr, 1997; Carr and Zanetti, 2000) have just lately instructed that these types of considering could also be put to work, in order to see anew that which has been taken-for-granted within the organizing and managing of the workplace. Part II focuses its attention on the concept that
the group of work itself is an aesthetically ordered exercise. Consideration is given right here to how organizational processes, routines and understandings are themselves structured, ordered and challenged through the deployment of

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aesthetic classes and representations of the aesthetic, and whereby aesthetics usually are not only evident inside the realm of work, but are themselves put to work as organizational or particular person resources. Aesthetics are thus understood as integral to the apply of organizing each work, and the person capacity to work, rather than as simple adornment or distraction. Part III presents itself in phrases of a extra self-consciously crucial engagements with aesthetics at work. Here the contributors take concern with the potentially adverse outcomes of a range of aesthetically driven strategies and practices aimed at minimizing the effects of organizational inertia, and the posited divergence between the subjective capacity for labour and consumption and the institutional requirement for performativity and revenue maximization. ADRIAN CARR PHILIP HANCOCK

Acknowledgements
In bringing this volume to fruition there are many individuals to thank and acknowledge. In particular the authors in this volume who contributed not only a chapter, but a cooperative spirit and enthusiasm that made the steps towards the invention of the ‘new’, a nice experience. We would also wish to thank Hugh Willmott and Irena Grugulis for allowing us to use The Second International Critical Management Studies Conference (University of Manchester, July 2001) as an initial venue for a stream on artwork and aesthetics from which a number of the papers have been chosen for this volume. David Boje, editor of the journal TAMARA (Journal of Critical Postmodern Organization Science), is an individual that has been very supportive of this project from the initial conception. David agreed to the development of a particular concern of the journal, TAMARA, on the topic of artwork and aesthetics and
copyright launch of papers that might also be used in this extra tightly structured and centered volume. We would additionally like to increase our due to Benetton for granting permission to reproduce two of its adverts as illustrations. We are very grateful to Zelah Pengilley, Caitlin Cornish and the professionalism of the staff at Palgrave. Finally we would like to thank those individuals who have helped us in quite a lot of methods each personal and intellectual, particularly: Guy Adams, Richard Bates, Keith Bennett, Jane Coulter, Yiannis Gabriel, Ellis Hancock, Bill Hughes, Martin Parker, Rachel Russell, Melissa Tyler and Lisa Zanetti. Every effort has been made to contact all copyright-holders, but when any have been inadvertantly omitted the publishers shall be pleased to make the necessary association on the earliest oppurtunity.

xii

Notes on the Contributors
The editors
Adrian Carr is an Associate Professor (Organization Studies and Applied Social Sciences) and the Principal Research Fellow in the School of Applied Social and Human Sciences on the University of Western Sydney. Dr Carr’s areas of analysis interest are psycho-sociological explanations of human behaviour, critical theory, public sector reform, postmodernism and the management of change. Dr Carr is a member of numerous professional associations and editorial boards, the latter including: Policy, Organisation & Society; the Journal of Management Development; Administrative Theory and Praxis: A Journal of Dialogue in Public Administration; Journal of Organizational Change Management; Radical Psychology: A Journal of Psychology, Politics and Radicalism; TAMARA: Journal of Critical Postmodern Organization Science and Global Business & Economics Review. Philip Hancock is a Lecturer in Organization Studies on the University of Warwick. His primary analysis and publication pursuits are within the field of group concept and, particularly, the relationship between modern cultural configurations and related patterns of organizational governance and design. He has published work in a selection of internationally acknowledged journals together with Organization and the Journal
of Management Studies, and is co-author of Work, Postmodernism and Society and The Body, Culture and Society.

Other contributors
Catrina Alferoff is presently employed as research assistant within the Department of Management at Keele University on an ESRC-funded Project investigating work in name centres. Previously she has researched discrimination in employment and training for older employees on a global EU funded project in the School of Postgraduate Medicine at Keele University. At Staffordshire University she lectured in Sociology and Human Resource Management and researched into access to employment and coaching for folks with disabilities, unsolicited mail and the problem of privacy, and out-of-hours well being service provision. xiii

xiv Notes on the Contributors

She has a continuing curiosity within the influence of recent technologies on work and consumption, service provision, whether or not public or private, problems with discrimination and social exclusion. She has revealed on junk mail, training and development of older workers and on disability and entry to employment. Mary-Ellen Boyle is an Assistant Professor on the Clark University’s Graduate School of Management. She received and MBA and PhD in sociology from Boston College. Her analysis focuses on the intersection of the personal and public sectors within the global economic system, with emphases on business, education, ethics and social duty. She is the author of The New Schoolhouse: Literacy, Managers, and Belief and has also published on the subjects of immigrant training coverage, company neighborhood relations, the model new employment contract, and rising fashions of workforce improvement. She is at present researching the social duty of the business school and the cultural determinants of social accountability practices. Her interest in aesthetics and justice can be traced to a long-standing need to attach humanities and the social sciences. Gibson Burrell is Professor of Organizational Theory on the University of Leicester and the editor of the journal Organization. It is all simply too much for him. Orville Butler is extensively educated, with a BS in physics, MA in historical past and philosophy of
science, M.Juris. in worldwide trade legislation, and PhD in history. He served as the Maytag Company’s first archivist from 1988 via the Company’s centennial in 1993 and served as the archivist/historian for the International Management Division of the Academy of Management in 1998–9. With Stephen Adams he co-authored Manufacturing the Future, a history of Western Electric. He has also written several articles on the interrelationship between science, expertise and business growth. Currently residing in Auburn, Washington, he has lectured at several schools and universities in the United States and Australia. George Cairns is Senior Lecturer in Management on the University of Strathclyde Graduate School of Business, Glasgow. His analysis interests revolve round study of ‘workplace environments’ – the social, physical, technological and organizational contexts of work. He seeks inputs to this research from those who live in these contexts, from those who design them, and from an eclectic range of fields of academic examine.

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Karen Dale is Lecturer in the Department of Accounting, Finance and Management on the University of Essex. She has printed on the physique and organization and inequalities at work. Currently she is writing a book on area and structure with Gibson Burrell, and enjoying the disorganized, embodied world of her two rising children. Ronald Gilardi currently serves as Vice President for Academic Affairs at La Roche College in Pittsburgh, Pennsylvania. He holds a legislation diploma from Duquesne University and a PhD from the School of Information Sciences on the University of Pittsburgh. Dr Gilardi’s primary areas of scholarly pursuits have included subjects ranging from legislation, managerial points and data know-how. Before coming to La Roche College, Dr Gilardi taught on the University of Illinois at Champaign, Illinois and the University of Western Ontario in London, Ontario, Canada. Nancy Harding is a Senior Lecturer in Health Policy and Management at the University of Leeds. This submit requires analysis and scholarship each throughout the fields of crucial management research and within the sociology of well being.
Her publications have included the e-book Social Construction of Dementia and is co-editor of the Journal of Management in Medicine, which is to be relaunched in 2003 with a model new title and broader focus. A guide entitled Social Construction of Management can additionally be to be printed shortly. Dr Harding’s analysis focus is largely relates to the application of postmodernist and gender perspectives to an understanding of public sector organizations and their management (and sometimes the sicknesses they could or could not instigate). Tamar Jeffers is learning for a PhD in the Department of Film and Television on the University of Warwick. Her research pursuits embrace stars, each inside and outside Hollywood, costume and the figure of the Career Girl in Fifties films. Currently, she is conducting analysis on Doris Day, and is also writing entries for a forthcoming Dictionary of European Stars in Hollywood. She can be Managing Editor of the journal Human Relations. Astrid Kersten is Professor of Management at La Roche College in Pittsburgh. She has served as Series Editor for Hampton Press and Reviewer/Editorial Board Member for Human Communication Research and Communication Monographs. Her research/consulting pursuits embody crucial principle, range management, organizational neurosis and organizational change. Her work has been printed within the Journal of Organizational

xvi Notes on the Contributors

Change Management, Communication Yearbook, Current Topics in Management, numerous edited books and European magazines and journals. David Knights is Professor of Organizational Analysis at Keele University. He is the editor of the journal Gender, Work and Organization and his most up-to-date publications include: ‘Autonomy-retentiveness! Problems and prospects for a post-humanist feminism’, Journal of Management Inquiry, 9(2), 2000; ‘A’in’t Misbehavin’? Opportunities for resistance within bureaucratic and high quality management innovations’, Sociology, 34(3), 2000 (with D. McCabe); D. Knights, F. Noble, T. Vurdubakis and H. Willmott, ‘Chasing Shadows: control, virtuality and the manufacturing of trust’, Organization Studies, 22(2), 2001; Management Lives: Power and Identity in Work Organisation (with H. Willmott); and The Re-engineering Revolution: Critical Studies of Corporate Change (edited with H. Willmott). His recent analysis has centered on ICT and
virtuality, name centres, and monetary companies education and social exclusion. Nick Nissley is an Assistant Professor at the University of St Thomas, Minneapolis, in the Department of Organization Learning and Development. Nick accomplished his doctoral studies on the George Washington University, Graduate School of Education and Human Development, in Washington, DC. Prior to coming into academia, Nick worked within the mining and healthcare industries, most just lately as Vice President of Organization Development and Learning for a major Midwest healthcare system. Nick’s research and teaching interests are in the space of arts-based learning in organizations – how artwork could inform our understanding of organizational life – together with crucial views. He has also performed semi-professionally with Playback Columbus (a type of improvizational theatre during which the audience members inform tales from their lives and watch them enacted on the spot). Steven S. Taylor is a Lecturer in Change Management at the University of Bath. His analysis focuses on the aesthetics of organizational motion. His work has been printed within the Journal of Management Inquiry, Human Relations, Management Learning, the Journal of Organizational Change Management and the Handbook of Action Research.

Part I Art and Aesthetics as a Way of Knowing Organization

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1
Art and Aesthetics as a Way of Knowing Organization: Introduction Adrian Carr and Philip Hancock

In the Preface to this quantity we indicated that the chapters are grouped in terms of widespread themes. In Part I of the volume, art and aesthetics are examined as a way of knowing organization. What is intended here is to reveal how a discourse informed by art and aesthetics may assist pave the way to an epistemological framework inside which studies of work and its group might gain a greater sensitivity to the noncognitive, non-rationalized dimension of everyday organizational expertise. Moreover, contemplating the heuristic potential that art and the realm of aesthetics may
supply the fields of organization studies and management practice, also affords us a possibility to reconsider the types of ‘logic’ that we now have employed in these fields. Art and aesthetics present us with a special method of figuring out and understanding of human existence and expertise and doubtlessly could serve to alert us to what we have missed in our previous theorizing of the fields. The chapters in this a part of the amount spotlight this heuristic potential. In Chapter 2, Art as a Form of Knowledge: The Implications for Critical Management, Adrian Carr brings a critical concept perspective to the proposition that art is a type of knowledge and as having a language-like character that incites philosophical reflection. The crucial theorists that Carr depends upon to construct his case are Theodor Adorno, Walter Benjamin and Herbert Marcuse – all scholars related to the Institut für Sozialforschung (the Institute for Social Research) which, due to its initial institution in Frankfurt University, is usually known as ‘the Frankfurt School’. It may be recalled that the students related to the Frankfurt School rejected the logico-rational custom in which it was presumed that in the social sciences, like the natural sciences, there was an absolute truth able to discovery through the scientific methodology. For these scholars, what passes for truth and knowledge in the 3

4 Art and Aesthetics as a Way of Knowing Organization

social sciences could not be indifferent from the knowing subjects – knowledge all the time needs to be conceived as mediated by way of society and has a dialectic ‘nature’ within the interplay of the particular and the universal, of the moment and totality (see Carr, 2000b). It was in this context that the aforementioned students of the Frankfurt School conceived art and aesthetics as not some separate order as such, however as an alternative as having a co-determined link to the ‘otherness’ it putatively sought to escape. The key issue right here, for a few of these scholars, is that on the one hand, artwork is mimetic and induces mimetic behaviour in the viewer. Art mimics or carries resemblance. On the opposite hand, there’s an enigmatic face to a work of art in as a lot as it carries discrepancy between projected photographs and their actuality. It is in this very act of an expression of nonidentity with itself that artwork was
considered to induce critical reflection. The chapter explores the work of the surrealists to focus on the manner during which this crucial reflection is induced. The intention of the surrealists was to interrupt the rational ‘language’ of correspondence to induce new associations with the objects and images and to transcend the management, presence and even the overt intention of the ‘author’ of the work. Many of the works of the surrealists, for instance, concerned producing discomfort or ‘shock’ (an ‘estrangement-effect’) via the juxtaposition of objects being positioned in unfamiliar settings. The production of an estrangement-effect is mentioned by way of the dialectic dynamic that was championed by some of the Frankfurt School students. The chapter concludes with a dialogue of how this work of the Frankfurt School students and the exploration of art and aesthetics, particularly, might provide a valuable optic by way of which the fields of management and group research might be reflexively explored – to maybe ‘see’ anew points for which we’ve, at best, had a superficial understanding. In the chapter that follows, by George Cairns and Tamar Jeffers (Chapter 3), it is the matter of ‘seeing’ that has particular significance. Of major concern to these authors is the way during which organization researchers themselves impose, or superimpose, meaning upon the research subjects. The authors interact the artwork of David Hockney and Alfred Hitchcock’s film Rear Window as a metaphor in an effort to cleanse/free or present a long way for themselves from the categorization that they’re attempting to avoid. They are aware that there isn’t any complete escape and so they supply a work of ‘fiction’. Now the word metaphor is emphasized here as a outcome of the authors tantalize the reader with the idea that they’re merely partaking metaphor, in the conventional sense of the time period. Metaphor is a determine of speech by which one object is likened to another as if it was that other, but on a regular basis we are to be aware it is

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not the thing to which the likeness is being made. In the journey by way of their chapter Cairns and Jeffers, consistent with Hockney and Hitchcock,
invite the reader to be voyeur and exhibitionist and at the very same time trigger the reader to reflect on the question of whether the understanding of organizations that comes from teachers is a publish hoc rationalization of their voyeurism. Of course metaphor is as emotional as it’s cognitive in its that means and the authors deal with the reader to experience more than the rational of their account of Hitchcock’s movie of Rear Window. The metaphoric approach alerts us to the non-rational and also the guises in which we come to symbolize what goes on in organizations from smaller snapshots that we load with that means that may be misguided. Thus we encounter the manner in which figures of speech get ‘extended’ in their which means within the manner of synecdoche and metonymy. Synecdoche where a single illustration stands for the entire and the whole for the half, e.g. roof for a home. This is completely different to metonymy where we might substitute an related time period for the name itself, as in ‘the crown decrees’ for ‘the ruler decrees’. These, amongst others, are points that Cairns and Jeffers highlight as issues that academia is susceptible in making an attempt to interpret and convey which means concerning the group dynamics that they encounter in their research. It just isn’t merely some type of inconsequential language game. Language is the type of transmission of concepts and such transmission must be reflexively thought-about. In explicit, the overt and hidden motives of those that analysis organizations could have within the language of representation. Using artwork and the aesthetic, Cairns and Jeffers deliver into sharp ‘focus’ the diploma to which the researcher (in their capacity) as each voyeur and exhibitionist can declare to know and to be objective. The authors, in this context, ask lecturers to render ambiguity, complexity and distinction as merely that without reductionist and secondary rationalism. In this preliminary part of the book, the subsequent chapter is that by Mary-Ellen Boyle (Chapter 4), who seeks to reconcile aesthetics and justice in organization processes and our experiencing of organizations. Boyle cogently argued that consideration of aesthetics has been such that it has been presumed to be politically neutral. In the method of difficult such an assumption, Boyle highlights how a reconciliation of aesthetics and justice in the structure, processes and dynamics of group can lead to a extra humane, and maybe a more ‘productive’, organization. The chapter pursues this central argument on the advantage of reconciliation close to three arenas related to the
functioning of the organization. These three arenas are: (1) the aesthetics of the labour process

6 Art and Aesthetics as a Way of Knowing Organization

itself; (2) the image of the group as captured, for example, in metaphors; and, (3) the style by which the organization presents itself to the outside world and ‘consumers’. Each of these arenas are revealed as deriving profit from the reconciliation of aesthetics and justice. Boyle concludes her chapter with a selection of salient observations relating to how the sphere of group studies and management practice would possibly extra reflexively contemplate aesthetics and justice. She observes that while aesthetic knowing may not be normative in intent, or in concept, it has normative and doubtlessly unjust penalties. In concluding this introduction, a sentence from the last paragraph of her chapter expresses a sentiment echoed by most of chapters on this complete volume. ‘Beauty and the greater good must be connected so as to establish the importance and legitimacy of aesthetics as a method of figuring out group, and to find a way to create a more just society.’

2
Art as a Form of Knowledge: The Implications for Critical Management Adrian Carr

Introduction and overview
Theodor Adorno (1970/1997) declared that artwork was a form of information. In a somewhat associated vein, his crucial theorist colleague Herbert Marcuse (1956/1998) characterised art as a mode of cognition that is an various to positivism. The work of those two students is linked with the varsity of thought known as ‘The Frankfurt School’. Famous for its notion and development of ‘critical theory’, the Frankfurt School’s work was carried out initially at the Institut für Sozialforschung (the Institute for Social Research). This Institute was established in, however financially independent of, Frankfurt University. Founded in February 1923, a number of the scholars related to the Institute found themselves drawn to artwork and the aesthetics as
arenas in which alternative routes of considering and ‘seeing’ have been possible. For this group of scholars, in some ways, genuine art represented a ‘Great Refusal’ (Marcuse, 1956/1998, p. 149) in opposition to totalizing types of logic. Drawing upon the work of the Frankfurt School, and particularly that of Adorno, Marcuse and Walter Benjamin, this chapter initially explores the mimetic and enigmatic qualities of artwork. Benjamin (1933/1999c) insisted that all of us have a ‘mimetic faculty’ (mimicry) answerable for producing and perceiving resemblance. For Benjamin, imitation is one of our most irresistible impulses. Benjamin, and Adorno, got here to suppose of mimesis as an assimilation of self to different – a sort of enactment behaviour. Adorno suggests that each one autonomously generated artworks are enigmas in as a lot as they have a capacity to sustain a discrepancy between projected images and their actuality. They carry similarity while on the identical time carrying difference. As might be noted later, Adorno (1970/1997) 7

8 Art as a Form of Knowledge

argued that ‘the survival of mimesis, the nonconceptual affinity of the subjectively produced with its unposited different, defines art as a type of information and to that extent as “rational” ’ (p. 54). It is in this dynamic that artwork carries its important element. It was the decline of autonomously generated artwork which Adorno got here to view as being as a direct consequence of the rise of the tradition business. Both Adorno and Benjamin came to think of artwork as a form of language, or having a language-like character, which incites philosophical reflection. This kind of pondering was a forerunner to the post-structuralist JeanFrançois Lyotard’s (1971) more modern ‘discovery’ of the potential liberating rigidity between discursive (the verbal) and the figural (the visual). Lyotard considered the unconscious as being related to the figural and the preconscious with language. Art on this context is part of the transgressive and disruptive element in this tension. I will discuss this presently, but in a context of the work of Marcuse and Benjamin who suggest that types of artwork, similar to surrealism, liberate that crucial dimension of art in producing a discomfort or estrangement. These forms of artwork characterize art’s personal ‘attempt to rescue the rationality of the negative’ (Marcuse, 1964, p. 67). The dialogue of artwork as a form of knowledge, and
having a language-like character, will culminate in contemplating the forms of rescuing its personal important dimension, and whether similar varieties could probably be used for important management. In utilizing the time period ‘critical management’, I want to denote forms of considering that help us see anew that which we have taken-for-granted and may have blinded us to various constructions of issues and options. Some of the parallels between actions in artwork and ‘schools’ of thought in organization research have featured on this author’s earlier work (Carr, 1999, 2000a, 2001a; Carr and Zanetti, 2000). On this event a extra focused critique is meant and, in particular, a consideration of the sphere of administration itself as merely being a half of a tradition industry that’s intent upon producing, what Adorno (1975) called, ‘patterned and pre-digested’ merchandise with no important element. In this latter context to talk of important management would seem an oxymoron. Having given a sketch of the chapter in bold aid, and famous some the course of the argument, allow us to study in somewhat finer detail some of the work of these students associated with the Frankfurt School.

Mimesis and enigma in art – listening to from Benjamin and Adorno Rainer Rochlitz (1992/1996) argues that ‘In German aesthetics, avantgarde actions have been interpreted primarily within the light of the

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concepts elaborated by Benjamin and Adorno. In France, in contrast, whether or not or not a specific critic favours the avant-garde, he attempts to know it by way of Nietzsche’ (p. 220). The contrast between the Benjaminian/Adornian orientation to art and aesthetics to that of the Nietzschean orientation, is a distinction that highlights the elemental working assumption made by the two Frankfurt scholars. Nietzsche insisted art needed to be seen within the sovereignty of its own terms and would suggest that ‘art tends to put aside any criterion brought in from the logical or ethical order … [with] “truth” (being) an important phantasm and the truth of art a tonic lie’ (Rochlitz, 1992/1996, p. 220; see also
ComteSponville, 1991/1997, pp. 55–7). Although typically drawing upon the work of Nietzsche, on this topic the 2 Frankfurt scholars had a considerably completely different view and, all through their work, insisted that the ‘truth content’ of artwork has ‘not misplaced its logical and moral stakes’ (Rochlitz, 1992/1996, p. 220). Adorno and Benjamin have been of the view that art and aesthetics are not some separate order that obey some pure indifferent aesthetic logic as such, but instead had a co-determined link to the ‘otherness’ that, putatively, it sought to escape. Art, aesthetics and significant theory had a ‘power’ to disclose ‘truths’ about society. In contrast to ‘shouldershrugging aesthetic relativism’, Adorno (1970/1997) insisted that ‘art is directed towards reality, it is not itself instant reality: to this extent fact is its content. By its relation to reality, art is information; art itself is aware of fact in that reality emerges by way of it. As information, however, artwork is neither discursive nor is its fact the reflection of an object’ (p. 282). Of course, Adorno, and his Frankfurt faculty brethren, reject any pretensions to absolute truth and argued that legitimate information cannot be indifferent from knowing subjects – information at all times needs to be conceived as mediated by way of society and has a dialectic ‘nature’ in the interplay of the actual and common, of the second and totality (see Carr, 2000b). For Adorno and Benjamin, art and aesthetics was not solely an attempt to symbolize, but in the representation it had the capacity to transcend that ‘rationality’ which it was representing. As Adorno (1970/1997, p. 31) once noticed: ‘The modernity of art lies in its mimetic relation to a petrified and alienated reality. This, and not the denial of that mute reality, is what makes art speak’ (see additionally Rasmussen, 1996, p. 29). To perceive the ‘rationality’ that art represented and likewise its transgressive and critical ‘self-reflexive’ ‘voice’, one wants to appreciate Benjamin and Adorno’s conception of mimesis and enigma. It is these two concepts which may be pivotal to their work on art and aesthetics. Indeed, it would not be overstating the case to suggest that these two ideas are the essential

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scaffolding to how they came to the conclusion that art carried its ‘truth content’ and significant perspective. The notion of mimesis, although widely
used by Adorno and others within the Frankfurt school, was a notion first elaborated upon by their fellow theorist Walter Benjamin. It was this elaboration that shaped the use of the term by others of the Frankfurt faculty. Benjamin (1933/1999c) suggested that all of us have a ‘mimetic faculty’ (mimicry) answerable for producing and perceiving resemblance. While imitation maybe the ultimate word form of flattery, and a basic behaviour via which we may study new expertise, etc. Benjamin (1933/1999b, p. 698; 1933/1999c, p. 720) additionally considered it as one of our most irresistible impulses. Indeed, Benjamin, together with Adorno, got here to think about mimesis as an assimilation of self to other – a type of enactment behaviour (Benjamin, 1933/1999c, p. 720; Adorno, 1970/1997, p. 111; see additionally Jay, 1997b, p. 32; Nicholsen, 1997, p. 147). This enactment behaviour was to anticipate some of the work of Winnicott associated to the psychodynamics concerned in play (see Winnicott, 1971a, 1971b, 1971c, p. 41, 1971d, p. a hundred, 1971e, p. 107). Benjamin (1933/1999c, p. 720) notes that a child’s play is ‘everywhere permeated by mimetic modes of behaviour … The youngster plays at being not only a shopkeeper or trainer, but also a windmill and a train’. Anyone listening to their adolescent offspring trying to sing together with whatever is the highest of the hit parade, will soon discover it’s not solely a matter of getting the phrases right, you also should get the right accent to sound like the original! Of course, this behaviour is not always reproduced in the identical kind, i.e. an aural phenomenon imitated aurally. For instance, the child who strikes through the house as though they were an aeroplane. Here a human being is looking for to mimic a non-human object. Some areas of this imitation, corresponding to flying, are substituted with a behaviour that is in another kind – on this case, working round the house with outstretched arms. Thus the similarity isn’t necessarily embodied in the identical type. These brief examples trigger us to suppose about, perhaps more deeply, the size of mimesis – not solely the problem of the success in producing a likeness, but the extra general question, that of: ‘What is the character of the hyperlink with otherness that is both presupposed and created by imitation?’ (Nicholsen, 1997, p. 138). The capability to supply but in addition perceive resemblance would appear to implicate some form of human mimetic faculty or capability. Mimesis and the mimetic faculty, for Benjamin (1933/1999b, p. 695), in occasions long gone is totally different to that of today. In those earlier occasions, Benjamin points
to curiosity in the cosmic order and divination because the medium via which the studying of correspondence was to occur.

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Today the system of signs takes the form of language, as Benjamin (1933/1999b, pp. 696–7) argues: Language now represents the medium by which objects encounter and are available into relation with each other. No longer directly, as they once did in the mind of the augur or priest, however of their essences, in their most transient and delicate substances, even of their aromas. In other words: it’s to script and language that clairvoyance has, over the course of historical past, yielded its old powers. It was the process of producing similarities rather than the thing of the similarity that was essential for Benjamin (see Nicholsen, 1997, p. 140) – important, in as much because the mimetic college might be noted to exist all through the course of history. Nicholsen (1997) makes the profound connection of mimesis and self and other, which she notes within the work of Benjamin, and argues: ‘Language, in brief, can mediate the mimetic assimilation of self to other. Words mediate the lack of self as a lack of one’s personal image, figure, or face. Words could make him like things, Benjamin says, however “never like my own image”; the kid is “disfigured by likeness” to every thing that surrounds him’ (1997, p. 143). Adorno (1970/1997) agreed with these sentiments however instructed that, somewhat than language, it was artwork that had become the emergent type of the mimetic impulse. For Adorno (1970/1997), a work of art actually induced mimetic behaviour in the viewer (or listener, within the case the place he makes use of the time period artwork in its broader sense to include music, movie, etc.). He additionally, nonetheless, suggested that art has a rebus-like face – an ‘enigmatic gaze that it directs at us’ (Nicholsen, 1997, p. 150), which is a nonconceptual but language-like character that incites philosophical reflection. Nicholsen (1997, p. 149) summarizes Adorno’s position extraordinarily well1 when she says: The work itself is analogous to a musical rating. The recipient – listener, viewer, reader – follows alongside or mimes the inner trajectories of the work at hand, tracing its inner articulations down
the finest nuance … the act of aesthetic understanding is an act whereby the self is assimilated to the other; the topic nearly embodies, in a quasi-sensuous mode, the work, which is other. It is the enigmatic face of the murals, the enigmatic gaze it directs at us, that incites this philosophical reflection … First of all, the work is enigmatic because it is mimetic somewhat than conceptual. Being

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non-conceptual, it can’t be unenigmatic, as a end result of it can’t have a discursive meaning. Further, it’s enigmatic because it lost its function when the mimetic migrated from ritual into artwork; artwork has turn out to be, in Kant’s phrase, purposive but without function. As Adorno says (1970/1997, pp. 149–50), art can’t reply the query, ‘What are you for?’: The enigmatic quality implies otherness in addition to affinity. It requires distance if it is to be perceived. The experiential understanding of artwork that is gained through mimetic assimilation to the work does not have this sort of distance. It is trapped contained in the work, so to speak, and accordingly cannot do justice to it. (See also Adorno, 1970/1997, pp. 119–31.) For Adorno, all autonomously generated artworks are enigmas in as a lot as they’ve a capacity to maintain this discrepancy between projected pictures and their actuality. Carrying similarity but difference at the identical time: ‘Artworks say one thing and in the identical breath conceal it …’ (Adorno, 1970/1997, p. 120; see additionally Held, 1980/1995, pp. eighty two, 83, 88–9). At one point Adorno (1970/1997) added to this dynamic and argued that ‘the survival of mimesis, the non-conceptual affinity of the subjectively produced with its unposited different, defines art as a form of knowledge and to that extent as “rational” ’ (p. 54). Art is all over the place engaged in a dialectic with reason in its varied varieties: as cognition, construction, approach, spiritualization, objectification, and so on. (see Nicholsen, 1997, p. 148). Art overcomes the constraining and unreflective nature of rationality via the very act of expression of nonidentity with itself. The ‘truth-value’ of artwork arises from this capability to maintain ‘a discrepancy between its projected images (concepts) of nature and humankind, and its objects’ actuality’ (see Held, 1980/1995, p. 82). These had been the dynamics during which artwork was thought of to carry its critical
perspective. It was additionally the decline on this autonomous art that Adorno saw as the flip-side of the rise of the tradition business which shall be mentioned presently. It is to this ‘latent’ important content carried by artwork to which I now turn my attention.

The crucial content of art: hearing from Benjamin, Marcuse and Adorno on surrealism The notion that artistic endeavors return our gaze in a fashion in order to induce crucial reflection was something that a number of the Frankfurt School thought was notably properly exemplified in the work of the surrealists. Benjamin and

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Marcuse, and rather less so Adorno,2 used the example of surrealism, as a considerably ‘exaggerated’3 case, for example how the crucial content material of autonomous art will get played out in a dialectic manner assumed in critical theory. Benjamin and Marcuse found that the physique of work by the surrealists engendered an opportunity to see the world anew. The number of methods developed by the surrealists in writing, poetry, painting, theatre and movie have been intended to create new associations and overthrow the standard linear correspondence of objects and ‘logical’/familiar associations. It was the work by De Chirico during 1911–17 that impressed some of the early work of the surrealists.four Indeed, Breton (1927/1965, p. 83) noticed the work of De Chirico as reflecting the founding philosophy of surrealism. In some senses De Chirico might be thought of to be a surrealist, however his work did in reality preface both the formal declaration of surrealism by Breton in 1924 (see Breton, 1924/1969) and a subsequent motion of the surrealists into the medium of portray. De Chirico, like a variety of the ‘officially’ declared surrealist painters that followed, e.g. Magritte, Dali, Delvaux and Toyen, questioned the acquainted id of objects by faithfully reproducing them however inserting them in unfamiliar settings and using such unfamiliar associations to produce a kind of poetic strangeness. The wealthy mimetic and the enigmatic combination of the work. The shock of the juxtaposition of objects
in unfamiliar association elicited unforeseen affinities between objects and, perhaps, surprising emotion and sensations in the observer. As Breton extra usually noticed: ‘the external object had broken with its customary environment, its element components have been by some means emancipated from the object in such a way as to set up completely new relationships with different elements, escaping from the principle of reality while nonetheless drawing upon the real aircraft (and overthrowing the concept of correspondence)’ (emphasis added) (1927/1965, p. 83). It is necessary to acknowledge that the intent of the surrealist was to interrupt with the ‘language’ of correspondence of that rationalism and logic that had, of their view, led to the atrocities of the First World War. Civilization seemed to have lost its justification and new ways of pondering had been wanted that have been more authentic and notably not infected by bourgeois society. This orientation is properly captured within the words of the surrealist Patrick Waldberg (1965/1997, p. 13), when he observes that surrealism is: A distrust of rationalism and formal conventions (which had been worshipped at the moment by the representatives of the avant-garde) prompted the younger men in the direction of the exploration of the realm of the unconscious and the dream. They were in search of what might be

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called ‘the language of the soul’, that’s, the expression – stripped of all logical system – of the profound ‘me’ in its nakedness. Surrealism actually had its beginnings in the written word but, it quickly became associated with visible art for which it is most likely more commonly known right now. In their efforts to transcend rationality and linear pondering, the very early surrealists developed some specific methods and approaches. One technique, the use of goals or inducing a dreamlike state to provide the unconscious unimpeded passage, was inspired by the work of Freud (1900/1986, p. 769), who once said that desires were the royal road to information of the unconscious. The importance of goals to the surrealists was such that Breton (1924/1969, p. 14) specifically contrasted it with reality and advised that he ‘believed in the future decision of these two states, dream and reality, that are seemingly so contradictory, into a type of absolute actuality, a sur-reality’. Other techniques and approaches developed
by the early surrealists included: the exquisite corpse (stringing together of arbitrary chosen phrases by completely different poets unaware of what preceded or followed); and, computerized writing (writing rapidly without management, self-censorship, or thought for the outcome in terms of literary benefit, making free associations as they seem to flow). When it came to surrealism as an expression in the visual arts, the artists also experimented to attempt to produce additional strategies that transcended rationality and the management and presence of the ‘author’. Some of those strategies included computerized drawing and painting (similar to automated writing but in this case not attempting to control the hand – an extreme model of this was draw with one’s eyes closed); decalcomania (placing a sheet of paper with wet paint onto another sheet of paper and then separating them to reveal ‘patterns’); coulage (paint drippings onto a canvas); collage (reassembly of objects on a canvas with out concern for a way they may be arranged and juxtaposed) and frottage. Breton (1948/1965) also insisted that the ‘exquisite corpse’ could probably be utilized in drawing and advised it was ‘an infallible method of holding the critical mind in abeyance, and of totally liberating the mind’s metaphorical activity’ (emphasis added) (p. 95). In the drawn model, ‘players’ took turns including parts of the drawing. The first individual would possibly draw the head, with two traces protruding for the neck. The paper was then folded and passed to the second player, who added the torso, with traces protruding throughout folds for the arms and legs, and so on. The level of the ‘play’ was each collective and automatic: the unleashing of the ‘marvelous’ or non-rational, and the production of a work that could not have been produced by a single player performing alone (Caws, 1997).

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Marcuse and Benjamin each considered surrealism as producing discomfort, turmoil, shock and/or emotional disturbance and in so doing was a form of sociocultural critique. The shock induced by way of the juxtaposition and dissociation of the acquainted in unfamiliar settings was notably resonant with their concepts associated with dialectics. They came to view this
discomfort and shock in a way similar to that captured by Bertolt Brecht in his concept of an ‘estrangement-effect’. Citing the phrases of Brecht, Marcuse (1964, p. 67) explains the impact in the following method: To teach what the up to date world really is behind the ideological and material veil, and how it can be changed, the theater must break the spectator’s identification with the occasions on the stage. Not empathy and feeling, however distance and reflection are required. The ‘estrangement-effect’ (Verfremdungseffekt) is to supply this dissociation in which the world could be recognised as what it is. ‘The things of everyday life are lifted out of the realm of the self-evident … That which is “natural” must assume the options of the extraordinary. Only in this method can the legal guidelines of cause and effect reveal themselves’. (Brecht, 1957) Marcuse additional argued, using literature as a particular instance, that the estrangement-effect ‘is not superimposed on literature. It is rather literature’s personal reply to the specter of total behaviourism – the try to rescue the rationality of the negative’ (1964, p. 67). Among different issues, for Marcuse, the estrangement-effect was part of a ‘great refusal’ to one-dimensionality. For Marcuse, the restrictions that have been being imposed upon freedom and happiness by a domineering and repressive society had an antidote in the liberation of creativeness. It was the enslavement of creativeness that aided and abetted a social amnesia as to how the present sociocultural arrangements came into being – a social reification, and at the same time robbed us of thinking of alternative prospects. It was in this context that Marcuse cites Breton’s First Manifesto of Surrealism: To reduce imagination to slavery – even if one’s so-called happiness is at stake – means to violate all that one finds in one’s inmost self of ultimate justice. Imagination alone tells me what may be. (Marcuse, 1956/1998, p. 149, citing Breton, 1924/1969a, pp. 4–5) Both Benjamin and Marcuse noticed an affinity between the surrealists’ manufacturing of the estrangement-effect and the mode of important thought

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championed by the Frankfurt School scholars, i.e. dialectics. This affinity was such that Benjamin (1929/1997b) argued that surrealism wanted to be perceived dialectically to find a way to respect its purpose and contribution
and, particularly, to know that ‘we penetrate the thriller solely to the degree that we acknowledge it in the everyday world, by advantage of a dialectical optic that perceives the everyday as impenetrable, the impenetrable as everyday’ (emphasis added) (p. 237). The dialectic optic is used in its Hegelian sense.5 The estrangement that comes from contradiction, paradox and irony are the required reflective alternatives by which juxtaposition aids dialectical self-consciousness. Indeed, in Aragon’s ‘anti-novel’ Paris Peasant, this surrealist argues that ‘reality is the apparent absence of contradiction. The wondrous is contradiction showing in the real’ (Aragon, 1926/1971, p. 166). Benjamin (1929/ 1997b, p. 227) came to describe this wondrous revelation carried in surrealism as ‘profane illumination’. He also strengthened that the act of reflection within the medium that’s the murals and the hyperlink to philosophy, when he observed that ‘all genuine works have their siblings within the realm of philosophy’ and that our task in understanding the work of art is to reveal the ‘virtual possibility of formulating the work’s truth content’ (Benjamin, 1922/1997a, pp. 333, 334). For Benjamin and Marcuse, within the surrealist motion the estrangement-effect turns into an artistic–political reflective gadget solely to the extent that the estrangement may be maintained ‘to produce the shock which can naked the true relationship between the 2 worlds and languages: the one being the optimistic negation of the other’ (Marcuse, circa unknown/1993, p. 187). Marcuse warns that, prior to now, intellectual oppositions to the mainstream turned impotent and ineffective as a end result of the estrangement-effect was, in effect, disarmed by the assimilating mechanisms of the prevailing order. He argues in Aragon, for example: The avant-gardistic negation was not negative enough. The destruction of all content material was itself not destroyed. The formless kind was stored intact, aloof from the common contamination. The type itself was stabilized as a new content, and thus came to share the destiny of all contents: it was absorbed by the market. (Marcuse, circa unknown/1993, p. 182) Thus the estrangement-effect can only be maintained to the extent that it continues to reveal the prevailing order in its opposition and (simultaneously) the opposition within the prevailing order – that’s, to the extent that it maintains a dialectical tension. The opposition between antagonistic spheres, is a dynamic conceived as the mediation of one through the other
(see Adorno, 1970/1997, pp. 44–5). This, in fact, is

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the dialectic optic that Benjamin argued was crucial to the understanding of surrealism.6 The dialectic dynamic inherent in the surrealist movement was additionally famous by Adorno, notably within the context of throwing the spotlight on those aspects of social life that functionalism neglects, obscures and/or seeks to take away from our imaginative and prescient. He expresses this view succinctly when he says: [Surrealist paintings] … gathered collectively what functionalism covers with taboos as a result of it betrays reality as reification and the irrational in its rationality. Surrealism recaptures what functionalism denies to man; the distortions reveal what the taboo did to the desired. Thus surrealism rescues the obsolete – an album of idiosyncrasies where the claim for happiness evaporates that which the technified world refuses to man. (Theodor W. Adorno, ‘Rückblickend auf den Surrealismus’, in Noten zur Literatur (Berlin-Frankfurt, Suhrkamp, 1958), p. one hundred sixty – cited in Marcuse, 1964, p. 70) Adorno (1970/1997) was to remark, extra typically, that art couldn’t be lowered to ‘the unquestionable polarity of the mimetic and the constructive, as if this were an invariant formula’ however what ‘was fruitful in trendy artwork was what gravitated towards one of the extremes, not what sought to mediate between the two’ (p. 44). This line of thought leads Adorno to make a more basic level about dialectics, when he states that ‘the dialectic of these components is similar to dialectical logic, in that each pole realizes itself only within the different, and never in some middle ground’ (emphasis added) (p. 44). In the Dialectic of Enlightenment, although not adopting these phrases, it was the dialectic rigidity and the maintenance of some estrangement that Adorno and Horkheimer (1944/1997) had concern, within the face of the culture business. They despaired at how the culture trade had assimilated the arts into a world of advertising and kitsch7 and on this means of objectification had repressed (neutralized) art’s crucial information content. To further understand the crucial knowledge element and the language-like high quality of art and aesthetics, it’s instructive to very
briefly consider a few of the contours of Adorno and Horkheimer’s view about the development of what they dubbed the ‘culture industry’.

Art as a part of the culture trade: listening to from Adorno (and Horkheimer)8 Adorno and Horkheimer (1944/1997) of their e-book Dialectic of Enlightenment,9 in a chapter entitled ‘The tradition business: enlightenment

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as mass deception’, recommend that ‘art’10 and manual labour have become structurally divided. They seen capitalism11 as engendering a new type of domination. The energy of the ruling classes was being reproduced via a form of ideological hegemony; it was established primarily through the rule of consent, and mediated via cultural institutions corresponding to schools, the household, churches and mass media. It was in this context that Adorno and Horkheimer argued that tradition, like every thing else in capitalist society, had been reworked into an object. This objectification resulted in both the repression of the important components in its kind and content, but additionally represented a negation of critical thought. As Adorno (1975, p. 13) was to remark: Culture in the true sense, didn’t merely accommodate itself to human beings; … it all the time simultaneously raised a protest towards the petrified relations beneath which they lived, thereby honoring them. Insofar as tradition turns into wholly assimilated to and integrated into these petrified relations, human beings are as soon as more debased. Culture had, metaphorically, turn out to be one other trade producing commodities, which had little or no critical operate. Adorno (1975, p. 14) was to make clear that the ‘expression “industry” is not to be taken actually. It refers again to the standardization of the factor itself – such as the Western, acquainted to each moviegoer – and to the rationalization of distribution strategies … [and] not strictly to the manufacturing process’. To paraphrase Adorno in numerous his works (see also Held, 1980/1995, p. ninety four; Rocco, 1994, p. 87), music, artwork, film had been primarily, geared toward a passive, passionless and uncritical reception, which it induces via the manufacturing of ‘patterned and pre-digested’ merchandise. The tradition business anticipates particular person client ‘need’. The images and messages which may be commercially produced are largely mimetic of the broader
socio-political relations. The criteria of merit for these products was perverted, based on Adorno and Horkheimer (1944/1997, p. 124), because it was judged by the amount of ‘conspicuous consumption’. Positivist rationality, the manipulation and suppression of crucial creativeness, have been embodied within the images and messages produced by the tradition trade – an business so reductionist that culture was mere amusement. The structural division between work and ‘art’ (read culture) was such that culture was to be the vehicle of escape from the boredom, drudgery and powerlessness inherent in mechanized work processes. Culture had, as an alternative, become an extension of that very same world of labor.

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In the phrases of Adorno and Horkheimer (1944/1997, p. 137): Amusement beneath late capitalism is the prolongation of labor.12 It is wanted as an escape from the mechanized work process, and to recruit energy so as to have the power to deal with it once more. But on the similar time mechanization has such power over a man’s leisure and happiness, and so profoundly determines the manufacture of amusement goods, that his experiences are inevitably after-images of the work course of itself. The ostensible content is merely light foreground; what sinks in is the automated succession of standardized operations. (For a similar critique, see also Marcuse, 1956/1998, 1964, 1968) Nowhere was Adorno and Horkheimer’s criticism of the tradition trade larger, and more illustrative, than within the realm of artwork. Scathing as to what artwork had become, Adorno and Horkheimer instructed that artwork had not simply been was a commodity, however from the outset was conceived of as an item for sale to a market. In an idiom of fashion, artwork and advertising had merged as cultural merchandise with maybe the ultra-realism of Andy Warhol’s Campbell Soup painting saying all of it (see Giroux, 1983, p. 21). The one-dimensional society, highlighted by Marcuse (1964), is a world that collapses the distinction between what is and what might in any other case be attainable and, at the similar time, reifies – serving to encourage a social amnesia as to the ontology of such a world. The aesthetic character of art
that brings enjoyment and leisure now, simultaneously, serves to pacify and, in plenty of situations, has been turned over as an instrument to aid within the promotion and acquisition of commodities. The ‘prevailing’ interpretation of actuality will get reproduced and strengthened such that the reconciliation of alienated people with society occurs through a process of identification of the latter with the previous, as Held (1980/1995, p. 94) cogently observes: The ‘plots’, the ‘goodies’, the ‘heroes’ not often counsel something apart from identification with the existing type of social relations. There is passion in films, radio broadcasting, in style music and magazines, but it’s normally ardour for identity (between complete and half, type and content, topic and object). The products of the tradition industry can be characterised by standardization and pseudo-individualization. It is these qualities which distinguish them from autonomous artwork. Art had been robbed of its capability to counsel various possibilities to a world by which it now seemed to merely act as a mirror. To reverse a Kantian expression, in the phrases of Adorno and Horkheimer (1944/1997,

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p. 158; see additionally Adorno, 1970/1997, p. 139); ‘The precept of idealistic aesthetics – purposefulness and not utilizing a function – reverses the scheme of things to which bourgeois artwork conforms socially: purposelessness for the purpose declared by the market’. Art had been neutralized into a mere object of contemplation.thirteen Art had turn out to be a half of the tradition trade that promoted, and sought to have assumed, intellectual and social conformity.

Management and organization research: taking classes from the world of art? Having heard from a few of the Frankfurt School scholars on the matter of art as a form of data and its language-like character, the query arises: ‘How would possibly the work of these scholars provide us with a useful optic via which to extra deeply perceive and reflexively explore management and organization studies?’ I would suggest the work of those scholars, on the matter of art, is useful in numerous ways which are perhaps most conveniently addressed underneath three sub-headings.

Management and group studies: has it turn into a tradition industry? In 1997 a book was printed, written by Gibson Burrell, entitled Pandemonium: Towards a Retro-Organization Theory. In the same 12 months David Farmer (1997a) made a conference presentation entitled ‘Public administration discourse as (Heraclitean, Derridean) play: does it pay to play?’ (see also Farmer, 1998). Both of those outstanding contributors to the group discourses have been independently voicing a disillusionment and in search of to ‘extract’ themselves from the mode of thinking that had characterized these discourses. Both of them had turned to publish modernism which, on the time, I interpreted (see Carr, 1997; Carr and Zanetti, 1998) as, unknowingly, coming into the realm of surrealism – extra of that connection, of postmodernism and surrealism, in a moment. The core of their disillusionment seemed to be the vanity or superficial ‘nature’ of the discourse and, specifically, linear pondering. Burrell (1997) expressed his disillusionment and frustration with the discourse all through the book, each explicitly and implicitly. Early in his tome, in addressing those within the field that he expected to be his readers, he advised that if his guide have been a video, ‘decidedly not for public viewing’, it will show ‘that we’re swimming in deep shit’ (p. 4). Burrell (1997, p. 4) goes on to make the following argument as to why he holds this view,

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saying: The pressures to hold out work of an empiricist sort, to make this analysis related to a managerial audience and to play for good and immediate suggestions from teaching our shoppers, places large pressures towards conservatism on lecturing workers. To put this comment in even higher context, it have to be remembered that this was the ‘same’ Burrell who as soon as joined with Morgan (Burrell and Morgan, 1979) and posed that nearly all unKuhnian rendering of paradigms. You know that Burrell – the two 2 typology by which ‘human nature’ grew to become part of their unusual brew of unproblematic oppositional dimensionality, and who talked of being confined to ‘cells’ in a context of incommensurability. In Pandemonium, this was clearly a
completely different Burrell (1997, p. 25) who observes that he ‘now leaves the equally sized rooms he has been stalking’. The work of Adorno and Horkheimer (1944/1997) may recommend that Burrell and Farmer, and naturally others, are at one degree expressing the pressures associated with a culture trade. Using the optic of the tradition industry one would possibly ask for some reflexivity – to inquire as to whether, each in the content and educating methodology, as properly as in analysis, the field in which we toil is simply another culture industry? For instance, we often, jokingly, refer to MBAs as undergraduate administration levels for engineers. Carried in the joke is, maybe, a hint of a bigger story, a narrative that has something to say more usually about the field. MBAs and many different degrees in management and administration could probably be seen, very much, as commodities to be bought from a market. Commodities that give a superficial understanding of the subject material. Burrell (1997, p. 27) remarks upon this superficiality when he invites some readers to exit his guide as early as page twenty six. He refers to these ‘scholars’ as ‘being content with “Heathrow Organization Theory” and its practitioners (e.g. Handy, 1994)’. He then distinguishes his own volume by distancing it from the ‘Handy pocket theory with all its superficiality, ease of journey, liberal humanistic stance, technobabble language and fundamentally conservative political leaning … [and] all that consultancy-speak’ (Burrell, 1997, p. 27). Recalling the abstract within the last part of this chapter about what artwork had turn into, the question stays: ‘Has the teaching, analysis and discourse in management and group studies turn out to be another culture trade, aimed toward a passive, passionless and uncritical reception, which it induces by way of the production of patterned and pre-digested

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products?’ The reply, for many people, is a resounding ‘yes’. The work of Adorno and Horkheimer (1944/1997) has offered the premise to pose this fundamental question and in doing so has given us a foundation for some reflexivity. For the students of the Frankfurt School, artwork is certainly a form of knowledge. It also represents ‘a type of rationality that contains a certain “non-rational” factor that eludes the instrumental form’
(Rasmussen, 1996, p. 29). Art’s non-rational factor gives it the power to go beyond instrumental rationality. For Adorno (1970/1997, p. 79) ‘capitalist society hides and disavows precisely this irrationality, whereas artwork does not’. In this context, earlier it was observed, and it bears repeating, that: Adorno (1970/1997) insisted that ‘art is directed towards reality, it’s not itself immediate reality: to this extent fact is its content material. By its relation to truth, artwork is information; artwork itself knows fact in that fact emerges by way of it. As data, nonetheless, artwork is neither discursive neither is its truth the reflection of an object’ (p. 282). Of course, Adorno, and his Frankfurt college brethren, reject any pretensions to absolute fact and argued that legitimate knowledge cannot be indifferent from knowing topics – data all the time needs to be conceived as mediated by way of society and has a dialectic ‘nature’ in the interplay of the actual and common, of the moment and totality. (See Carr, 2000b) In looking for to liberate ourselves, and the discourse extra usually, from the culture trade, a dialectic optic would trigger us to more reflexively contemplate what our ‘own’ discourse offers us as information. The important dimension of our gaze is still inside ‘the work’, in as a lot as we can see the superficiality and notice the contradictions and ruptures within the ‘images’ that is our discourse – the field’s personal mimesis and enigma dynamic. More than this, a dialectic optic would have our gaze upon data itself as being an object of study in a twofold sense. In one sense we are ready to examine our ‘knowledge’ in a context of understanding its social perform, that’s, the way by which it legitimates sure practices and buildings. At the same time, our ‘knowledge’ may be analysed ‘to reveal through its arrangement, words, structure and style these unintentional truths that contain “fleeting images” ’ (Giroux, 1983, p. 30) of other possibilities.

The modern evocation of surrealism in management and group research I noted earlier that distinguished group theorists similar to Burrell (1997) and Farmer (1997a, 1997b, 1998), as properly as others, had sought to extract themselves from ‘linearity’ and totalizing ‘logic’ (Burrell, 1997,

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p. 27) by adopting a postmodern perspective. I interpreted this, at the time (see Carr, 1997; Carr and Zanetti, 1998), as, ‘unknowingly’, entered the realm of surrealism. Indeed, as my evaluation of Burrell’s work was being printed, by which I made this connection, Farmer’s aforementioned convention paper got here out in a particular problem of the journal Public Voices, edited by Farmer himself (Farmer, 1997b). This particular issue targeted upon postmodernism and public administration. The cover of this special problem featured a surrealist work, a replica of the René Magritte’s portray ‘The Blank Signature’. Farmer comments in his introduction, that this painting makes the purpose that ‘reality extends beyond acutely aware rationality’ (p. 8). I was left to ponder if he, and or any of the opposite authors on this particular issue, had also ever considered any attainable deeper connections between postmodernism and surrealism? The contours of that unique argument, that much of postmodernist thought was a up to date evocation of surrealism, is an argument that bears revisiting in the context of this chapter.14 It is an argument, that if sustained, additionally provides some clues as to how the analysis of surrealism by the students of the Frankfurt School, discussed earlier in this chapter, has implications for the administration and group discourse. This is, once more, an try to learn from the world of artwork and people who have noted a transgressive and critical ‘voice’ of art. In the context of explaining how some the Frankfurt School scholars considered surrealism as somewhat of an exemplar of the style during which art carried its crucial factor or content material, it was earlier famous that the surrealists sought to transcend rationality and linear logic. To achieve this goal, it was also noted that the surrealists developed strategies corresponding to: the beautiful corpse; computerized writing/drawing/painting; dream work; decalcomania; coulage; collage; frottage; and others of a playful sort. Postmodernists seem to have taken an analogous path. Their fundamental orientation can be to transcend rationality, linear considering, and the ‘author’. The central and recurrent themes of postmodernism are that ‘its all within the text’ and the importance of the death-of-the-subject (see Carr, 1996; Carr and Zanetti, 2001). Also, postmodernists usually embrace the
early poststructuralist view that ‘truth’ is merely a building of language (see Lyotard, 1984a, p. xxiii). Moreover, the human as a topic is likewise simply part of that textual content, nothing more than a transient epiphenomenon of a selected and native cultural discourse. Derrida (1976, p. 158) insists il n’y a pas de hors-texte, i.e. there is nothing outside of the text. Postmodernists ask us to contemplate the textual content with out relation to any mounted referents, whether these referents be historic or metaphysical. For Derrida phrases acquire ‘their’ that means from their relationship to other words which might be introduced on the same time,

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i.e. in the identical written or spoken discourse and/or from their implied relationship to other words that don’t seem in that discourse. It is this ‘play of difference’ that is on the coronary heart of how language must be examined. Derrida equally insists the textual content itself is a bearer of an announcement, whose truth is problematic, as its ‘elements’ have a fluid rather than fixed which means. It is in this context that the self has no referential standing apart from the textual content, and the hallmarks of Enlightenment – understanding, naming, and emancipation – turn into problematic. As noted earlier, the surrealists were extremely sensitive to exactly the identical points that Derrida raised, sharing a distaste for representation because it signified mastery (‘odius supremacy’ (Breton, 1927/1965, p. 81)) – whether that representation were political, social, linguistic, or cultural in origin. For the surrealist visual artists it was the interplay of absence and presence (akin to Derrida’s écriture) that was relied on to produce a sort of poetic strangeness. Its signification was not by way of everyday which means, but by way of the influence of disturbing the everyday associations, and thus problematising what seemed to be real. The religion in one’s ‘eyes’ was challenged. For instance, the idea of overthrowing correspondence, via the placing of acquainted objects in unfamiliar associations and settings, was supposed to inspire an anti-representational consequence in the observer – nevertheless it was the observer who was to make the ‘meaning’, not the artist (akin to the postmodernists ‘death-of-the-subject/author’). Sarup (1993) makes a parallel remark in respect of post-structuralists/postmodernists, arguing that
‘broadly speaking the signified is demoted and the signifier made dominant. This means there isn’t a one-to-one correspondence between propositions and reality’ (p. 3). A related comment is made by Rosenau (1992, p. 37) when she factors out that ‘reader-oriented post-modernism implies that which means originates not within the manufacturing of a textual content (with the author), however in its reception (by the reader)’. These intentions are exactly those of the surrealists. In postmodernist formulations the self or particular person has no referential status aside from the textual content. The self turns into figured and reconfigured as a textual creation. This is such a basic theme of postmodern thinking that one writer concludes ‘the connection between … thinkers and theories of postmodernity has primarily to do with their bulletins of the “death of man” (Foucault), or the “death of the subject” (Derrida), or the “death of the author” (Barthes)’ (Kumar, 1995, p. 129). The individual is half of the text and not firstly its topic. Indeed, we find the parallel in the surrealist movement in as a lot as Breton (1930/1969b), at one stage, even contemplated encouraging surrealists to take away their name from ‘their’ works as he feared that being able to

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identify the ‘author’ would colour interpretation and too closely tie them to the world. At one point (p. 177) he declares that ‘the approval of the common public is to be prevented just like the plague’. Under the subheading ‘I ask for the profound, the veritable occultation of surrealism’, he says: ‘I proclaim, on this matter, the right of absolute severity. No concessions to the world, and no grace’ (pp. 177, 178). The nihilism of the surrealists, i.e. the disdain and rejection of a perception of values, which is also so characteristic of the postmodernists,15 is brazenly declared in the earlier writing of Breton. The rejection of modernism, and what it represents, was an early touchstone for the surrealists together with absenting the figuring out subject. For many postmodernists, individuality and consciousness are conceived of as verbally grounded experiences where self-awareness can only
be realised via hearing oneself and being acknowledged by others through discourse, ‘man [sic] is decentred; the individual subject is dissolved into linguistic constructions and ensembles of relations’ (Kvale, 1992, p. 40). Thus, like the surrealists, the postmodernists seek to transcend or absent the ‘author’. The similarity in orientation of postmodernist formulations with these of the surrealists counsel an in depth affinity. In some ways, it shouldn’t be at all surprising to search out that the ‘techniques’ used in the service of such an orientation should also be comparable. If, in the interests of brevity and immediate relevance, we consider those in the discourse of group research and management that had championed postmodernism, we acquire a fast appreciation of the specific form that these have taken in our discourse. Our aforementioned Gibson Burrell (1997) and David Farmer (1997a, 1997b, 1998), for instance, have requested us to turn out to be playful by engaging questions corresponding to – ‘what if it wasn’t like this but the opposite?’ They counsel that it’s through a clash-of-opposites that we might transcend the logic and rationality of the day. In Farmer’s case, the ‘play of irony’ is particularly seen as necessary in considering, for example, public administration as a language recreation. Burrell’s playfulness is a bit more elaborate. Burrell’s book is a medieval tale that is stuffed with despair, photographs of demise and decay, and is designed to shock our sensibilities. In a Hegel-versusNietzsche view of historical past, crudely summarized as teleology versus genealogy, Burrell has taken the side of Nietzsche. Nietzsche (1901/1968) rejected totalizing types of evaluation and instead advocated an strategy that appears at the present and moves back in time till a difference is discovered. Burrell appears to have chosen the medieval interval as it represented a time where the contrast between the elements of the current he is so discomforted by are so different from the previous. He declares that

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Pandemonium does not symbolize ‘an argument, or a thesis or a story. It is a ludibrium – a playful toying with ideas – greater than anything and contains hidden meanings of which I am not aware’ (1997, p. 28). Burrell additionally formats the book in a way to attempt to escape linearity and traditional logic and induce free association. The formatting is such that page
numbering isn’t standard. The numbers are neither on the top or backside of the page but indeed on the side of the web page typically flanked by an arrow to provide the reader a sign of the place to learn next. There is a ‘dual carriageway in which textual content throughout the top half of the web page shifting from left to right “meets” text shifting from proper to left across the bottom half of the web page. Pages have a central reservation which it’s always harmful to cross’ (Burrell, 1997, p. 2). This intertwining of kind and content material, that Burrell employs, was the very essence of the strategies starting with De Chirico, later in the exquisite corpse and automated writing, to additionally inspire free affiliation and thus transfer past the constraints of standard logic. In addition to playfulness, the clash-of-opposites and intertwining of kind and content, different ‘surrealist’ techniques can be noted in the work of the group of writers who declare, or invoke, the insights of postmodernists in the organisation discourse. These nicely established writers have been advocating what, at first glance, appears to be using the fantastic to elucidate assumptions and uncared for visions. These methods have included: deconstruction (an introspective exercise that seeks to unsettle the taken for granted which means and assumptions of a textual content by using the textual content against itself, e.g. by erasing one word/concept, and substituting its ‘opposite’ additionally by scanning the text for contradictions and disruptions within the phrases, expressions, and concepts that are used and by so doing, putatively, exposing a text’s logocentrism); and, metaphoricality (the use of metaphors not just to capture a basic concept however for use as a software to explore pondering of organizations as if, e.g. as if they are organisms – utilizing this metaphor we might consider the problems as organizational health, determination centres, the existence and role of feedback, homeostasis, and the like, elements which are, putatively, hidden or obscured from our everyday vision and consciousness). Not to labour the point, the parallels of these methods with these of the surrealists, are summarized in Appendix A. If for the moment it’s accepted that surrealism, within the type of a recent evocation postmodernism, in both its orientation and strategies, has permeated the discourse of organization studies and administration, then are their classes to learnt from the appreciation of the surrealist artwork movement? The work of the Frankfurt School scholars, outlined earlier in this chapter, is instructive right here. It was famous, for both Benjamin and
Marcuse surrealism

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needed to be interpreted dialectically to find a way to recognize its function and contribution. It creates an estrangement-effect, and supplies ‘profane illumination’, to the degree that it continues to disclose the prevailing order in its opposition and (simultaneously) the opposition within the prevailing order – a dialectic tension. This estrangement-effect is, as Marcuse (1964, p. 67) argued, not something that we are in a position to impose upon our own area, but is an endogenous reaction to rescue that ‘rationality’ of the negative. The drawback here is that oppositions are all too easily absorbed into the prevailing discourse. In the case of surrealism, as was noted in an early work describing an ‘exhibition’ of surrealism held at the Galerie des Beaux-Arts, in Paris on 17 January 1938: by 1938, when the exhibition was held, photographs and gadgets from the visual portion of Surrealism had already begun to be appropriated by advertisers and entrepreneurs. Dali, for instance, was designing fragrance bottles formed like torsos. Miro’s biomorphic fantasies have been beginning to affect furnishings and interiors. Rather than asserting a revolution, the 1938 exhibition seemed more a display of radical stylish about to cross the edge into textbook history. Reviewers accused the Surrealists of seeming to take risks whereas actually being disengaged, and lamented ‘one more revolution that fades into that which it wishes to overturn’ (Sawin, 1995, p. 8). (Carr and Zanetti, 2000, p. 915) Similarly, G. Garfield Crimmins in an the recent wonderfully evocative, humorous and erotic journey in a book entitled The Republic of Dreams: A Reverie (1998), takes us to the ‘land’ of desires called the Rêverian Republic. During this time-travel, we’re treated to surrealist photographs and provided with the ‘Visitor’s Guide to la République de Rêves’ during which it is noted (1998, p. 28): Recently discovered paperwork in which the unique Rêverians referred to themselves as ‘Rondomites’ suggests a connection with the Randomites, a society of nonlinear thinkers lively in the Twenties. Their membership was international, as was their persecution and suppression by
linear thinkers of the interval. By 1938, nothing extra was heard of them and all traces of their activities had vanished. The current postmodernist formulations in the organization and administration discourse appear also set to become mainstreamed and commercialized which is ready to fracture the dialectic. The terminology of postmodernism, such as ‘postmodern’ and ‘deconstruction’ seems to

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be heading in the identical direction as the method in which during which the overuse of the word ‘paradigm’ has left it devoid of its original that means. One of the teachings to be learnt, would seem to be, that the sector itself needs to on its guard against the decontextualizing of concepts and permitting a selection of ‘chain-saws’ to be applied to the theoretics. Only by caring for the integrity and authenticity of streams of thought, can we take benefit of how that estrangement-effect helps in the re-presentation of previously-accepted truths and social situations. In similar vein and unknowingly reflecting the Marcuse (1964, p. 67) cite of Brecht’s clarification of the ‘estrangement-effect’ that was used earlier in this chapter, Cooper and Burrell (1988, p. 101) notice in a passing reference to the importance of the work of Foucault that: the auratic dimension seems as a form of ‘estrangement’ by which the conventional and familiar come to be seen in a novel and sometimes disturbing method. In order to see the odd with a fresh vision, we need to make it ‘extraordinary’, i.e. to break the habits of organized routine and see the world ‘as though for the first time’; it is necessary to free ourselves of normalized methods of thinking that blind us to the strangeness of the acquainted. The group of writers who have advanced a postmodernist view in the discourse of group research and management have, unknowingly, entered the realms of surrealism. If this argument was indulged somewhat additional, what if writers were to literally adopt a surrealist orientation and search to develop new forms and manifestations of surrealist ‘techniques’. Such a growth would appear to advance the cause for enhancing ‘fresh vision’. Equally, it may additionally be instructive to look at other ‘surrealist movements’ in different fields to understand and discover new approaches. For instance, it has very recently been suggested that in the
field of literature, magic realism may be similarly productive (see Carr, 2001b). Magic realism, as the name implies, is a form of illustration that juxtaposes reality and fantasy. Although originally a type of artwork, it positive aspects its more elaborate evocation in writing of a group of writers that reside in Latin America, most notably Gabriel García Márquez, Octavio Paz and Carlos Fuentes. These authors create narratives during which the sensible parts of the textual content are undermined by reference to occasions that have not occurred and situations that are impossible. In his introduction to a quantity of Latin American Stories, Fuentes (1998, p. xii) remarks that as a narrative author: you are … expected to assemble your tales in one of two methods: in both a ‘realistic’ or a ‘fantastic’ mode. I, for one, have always tried

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to keep away from this stark selection by recalling the lesson of Balzac and notably The Wild Ass’s Skin. The novelist who wished to be the public notary of French social courses ‘carried a whole society’ in his head, but in addition carried ghosts, myths, fears, unexplainable occurrences and a wild ass’s skin that fulfils your needs but shrinks each time it offers, till, on the finish, it takes life from the hapless proprietor and disappears. Some historians (see Gonzalez-Echevarría, 1977) have advised that the origins of magic realism are distinctly Latin American, pointing to the Cuban novelist Alejo Carpentíer’s work The Kingdom of This World (1949/1956) in which there is reference to ‘lo real-maravilloso’ (the marvellous-real, as was famous earlier in this chapter, the surrealists additionally talked of their very own work as unleashing the ‘marvellous’ – see Spector, 1997). Carpentíer describes his response to what he sees because the unbelievable and brutal history of Haiti. He argues that the ‘marvellous’ is a characteristic of life in Latin America, and the Caribbean, that cannot be authentically reproduced by the realism of a Dickens. Thus, magic realist, postmodernist, or surrealist, all liberate the ‘marvelous’ via what the Frankfurt School detected as that important high quality of a ‘medium’ to hold similarity and distinction at the identical time. This quality not only needs to be understood, however the dynamics of
assimilation mechanisms also revealed.

The dissociation of sensibilities
A third issue for the sphere of organization studies and administration, that I believe instantly suggests itself from the work of the Frankfurt students on the matter of artwork, relates to a range of philosophical issues. In explicit, these points related to what the poet T. S. Eliot dubbed the ‘dissociation of sensibilities’ (see Carr, 2000b). It seems nearly self-evident that modernism itself has encouraged a separation of our forms of information within the social science. Each phenomena, together with that of our on a daily basis life, we are encouraged to look at by way of a multiplicity of specialist lenses. This differentiation has been accompanied with a regime that encourages: scientism; the realists concept that one thing is mindindependent; and, pervasive types of ‘dualisms (nature vs. culture, thoughts vs. matter) which have served to valorize an abstract idealism at the expense of an embodied, sensible rationality’ (Gardiner, 2000, p. 11). Different knowledge-forms, the abstractions, the hierarchy within the knowledge-forms that provides primacy to metaphysical purpose, and dualisms – all have splintered and substituted for ‘real life’ and negate important perform. The work of the Frankfurt students, in their critical examination of art and aesthetics, alerts us to some ways during which the issue of ‘truth’ might

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be explored in a method more reflexive method. Of course, it is all too simple to confuse truth and knowledge, but these Frankfurt students have teasedout that relationship. Their work leads us to the invention that the problem is not one of objective reality, but considered one of some transparency over how we come to carry the conclusions that we do. What logic, purpose and other mediated pathways did we use (consciously and unconsciously guided), in coming to ‘believe’ this was the truth? (see Carr, 2001c). The work of Burrell (1991) and of Farmer (1997a, 1997b, 1998) asks an identical query, but additionally echoes the Frankfurt scholars concern that totalizing types of considering, similar to linear considering, obscures and marginalizes any ‘other’ and within the course of deprives us of reflexive opportunities. The ‘sub-text’, that is not so
subtly being instructed here, is one which we must always give larger precedence to inspecting the philosophy behind the technology of our data and ‘truth’. A just lately translated fragment of a work written by Benjamin, in 1920–1, seems to have anticipated our plight. Benjamin (1920, 1921/1997c, p. 276) suggests: The truth of a given circumstance is a function of the constellation of the true being of all different circumstances. This function is equivalent with the operate of the system. The true being (which as such is naturally unknowable) is an element and parcel of the infinite task. However, we have to ask concerning the medium in which fact and true being are conjoined. What is this neutral medium? Two things should be overcome: 1. The false disjunction: knowledge is both within the consciousness of a knowing subject or else in the object (alternatively, equivalent with it). 2. The appearance of the figuring out man (for instance, Leibniz, Kant). The two tasks dealing with the speculation of data are: 1. The constitution of issues in the now of knowability; 2. The limitation of data within the image. Benjamin’s words would counsel a discourse, in group studies and management, of a special character than, with few exceptions, we have seen so far. Clearly postmodernist approaches to our subject have sought to ‘overcome’ the problems raised here by Benjamin. The exploration of art and aesthetics, and alike, affords us a possibility to extra reflexively study our own field and perhaps take it away from scientism.

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Appendix A: similarity of surrealism and postmodernism (Carr, 1999, p. 339) SURREALISM POSTMODERNISM ( / POSTSTRUCTURALISM) Management/Organization Studies discourse

General orientation To transcend rationality, linear pondering Central and recurrent themes of and the control and presence of the postmodernism are that ‘it’s all in ‘author’. Seeking what could be referred to as the text’ and the significance of the ‘the language of the soul’, that is, the death-of-the-subject. Postmodernists expression – stripped of all logical
embrace the early poststructuralist system – of the profound ‘me in its view that ‘truth’ is merely a nakedness’ (Waldberg 1965/1997, p. 13). development of language. Moreover, Some surrealists similar to Desmond Morris the human as a subject is likewise (1987) didn’t consider their work was simply a part of that textual content, nothing a half of revealing some type of more than a transient essentialism of being, but merely it was epiphenomenon of a particular and ‘visual play’. native cultural discourse. ‘Techniques’ (Not a strict correspondence however overlapping affinity) Exquisite corpse – a stringing together Intertwining of kind and content material – of arbitrary chosen phrases by completely different formatting ‘text’ in a way which tries poets unaware of what preceded or to escape linearity and conventional followed. logic e.g. in Burrell’s (1997) e-book ‘Pandemonium’ web page numbering is on the facet of the page, typically flanked by an arrow to offer the reader a sign of the place to read subsequent. There is a ‘dual carriageway in which text across the highest half of the web page moving from left to proper “meets” text moving from proper to left throughout the underside half of the web page. Pages have a central reservation which it is at all times harmful to cross’ (p. 2). Free association is encouraged by this system. Automatic writing – writing rapidly Playfulness and the play of irony – without management, self-censorship, or partaking questions such as – ‘what if thought for the result when it comes to it wasn’t like this however the opposite?’. literary merit, making free associations It is through the clash-of-opposites as they appear to flow. that we could transcend the logic and

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Appendix A Continued SURREALISM POSTMODERNISM ( / POSTSTRUCTURALISM) Management/Organization Studies discourse rationality of the day. In the instance of Burrell’s medieval story of Pandemonium, a historic setting stuffed with despair, pictures of demise and decay is designed to shock our sensibilities. Clash-of-opposites – overturning an implied hierarchy and ‘reading’ of a text by disturbing the conventional associations – see deconstruction and playfulness. ‘Dreams’ or inducing a dream-like state to give the unconscious unimpeded passage. Metaphoricality – exquisite corpse might be used in drawing and suggested it was ‘an infallible way of holding the critical mind in abeyance, and of totally liberating the mind’s metaphorical activity’ (Breton 1948/1965, p. 95). (The visible arts)
questioned the acquainted id of objects by faithfully reproducing them on canvas or in spaces however putting them in unfamiliar settings and using such unfamiliar associations to supply a kind of poetic strangeness. The shock of juxtaposing objects in unfamiliar affiliation elicited unexpected affinities between objects and, maybe, unexpected emotion and sensations in the observer. A related philosophy was utilized within the technique of Collage – reassemble objects on a canvas with out concern for the way they could be organized and juxtaposed. Other strategies which are variations of these listed above: Automatic drawing and painting, Decalcomania and Frottage.

Metaphoricality – the use of metaphors not just to capture a general concept however to be used as a device to assist us see that which is hidden or obscured from our everyday vision and consciousness. Deconstruction – an introspective exercise that seeks to unsettle the taken for granted meaning and assumptions of a text by using the textual content against itself, e.g. by erasing one word/concept, and substituting its ‘opposite’ additionally by scanning the text for contradictions and disruptions within the words, expressions, and concepts which might be used and by so doing, putatively, exposing a text’s logocentrism.

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Notes
1. It is noteworthy that very few commentators on Adorno’s Aesthetic Theory have tried to come back to terms together with his concept of enigma, and, certainly, how it’s related to mimesis. Nicholsen is an exception and an exception well worth studying for the profound incite she brings to the work of Adorno. Nicholsen does not, nevertheless, pursue the logical conclusion of projecting Adorno’s argument additional. If mimesis is enactment behaviour by which self seeks assimilation to different, then enigma would seem to symbolize an different to different. Thinking about this more laterally, the dialectical assimilation of self to different and other to self (see Carr and Zanetti, 1999) would in the identical course of seem to ‘create’, as an artifact of that process, an different that remained unassimilated – unassimilated because it represented a prime quality, or
in Nicholsen’s words ‘being nonconceptual’. 2. It could probably be stated that Adorno was hesitant toward embracing the work of the surrealists – a conclusion reached by Wolin (1997) with which I concur. Adorno appeared to suppose surrealists fetishize sure objects and representations, producing a form of reification. The production of such pictures was carried out with little consciousness of the mediated nature of their manufacturing. The entire work, in his view, is programmatic and turns into one imbued with rationality with the sole intention to shock and provoke. The downside I see in this position is that Adorno has failed to distinguish between the different ‘techniques’ utilized by the surrealists and he seems lower than sensitive to the different form that surrealism may have to absorb totally different arts. This mentioned, Adorno was sympathetic to montage and in his last main work, Aesthetic Theory (1970/1997), surprisingly praised the surrealists for the ability to provide the ‘shock effect’ and in so doing defetishize and assist disarm on an everyday basis rationality (see also commentaries by Agger, 1992, p. 228; Held, 1980/1995, pp. 104–5; Hohendahl, 1995, p. 211; Jay, 1984/1997a, pp. 129–31). three. The word ‘exaggerated’ is used here as I am very conscious of the way in which the Frankfurt scholars saw the critical operate of art and aesthetics being overpowered. Gardiner (2000, p. 15) reads this situation similarly when he says: In the perspective of Adorno et al., methods of social management had turn out to be perfected to such an extent, and ‘false consciousness’ so pervasive, that moments of no-alienated or emancipated experience could solely be glimpsed furtively in the most avant-garde of artworks and forms of theoretical manufacturing, in aesthetics and intellectual experiences which, by virtue of their very complexity and symbolic opacity, resisted absorption into what they termed the ‘culture industry’. The dynamics of the tradition trade are discussed in the next part of this chapter. 4. See Carr and Zanetti (1998, 2000) for a much bigger dialogue of surrealism and the connection with the work of the critical theorists Adorno, Benjamin and Marcuse, and, additionally, the parallels with aspects of the work of postmodernists/poststructuralists. 5. Hegel argued that dialectical thought begins with a ‘thesis’, any definable reality that’s the begin line from which all further development

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proceeds. As reflection progresses, this thesis is seen to encompass its reverse, or ‘antithesis’, as a part of its very definition. The triadic structure of Hegelian thought isn’t simply a series of constructing blocks. Each triad represents a course of whereby the synthesis absorbs and completes the 2 prior phrases, following which the complete triad is absorbed into the subsequent greater process. Hegel himself most well-liked to check with the dialectic as a system of negations, quite than triads. His objective was to overcome the static nature of traditional philosophy and seize the dynamics of reflective thought. The essence of the dialectic is the flexibility to see wholes and the conflict of parts concurrently. 6. Of course the surrealists, just like the Dadaist movement, often satirized and mocked bourgeois society, however such satire and mocking was reliant upon the extent to which the irony and juxtaposition may proceed to create this unease and not ‘simply’ be taken as an aesthetic presentation and get in any other case absorbed right into a world of promoting and kitsch. Indeed, in the case of Dada, as certainly one of its leaders, Richard Huelsenbeck claimed: ‘The Dadaist considers it necessary to return out in opposition to artwork (painting, sculpture, culture, spirit, athletic club) as a end result of he has seen via its fraud as an ethical safety valve’ (cited in Gardiner, 2000, p. 29). It was the repressive and ideological content carried in artwork that Dadaists discovered so objectionable. The Dadaist endeavoured to flee something that was conventional or common sense by partaking the spontaneous and the by-chance. Some of the ‘techniques’ for exploring the spontaneous and by-chance had been to find their method into that later movement called ‘surrealism’. Of course, the spontaneity and by-chance as an avenue to the repressed had additionally being championed by Freud in his notion of free affiliation and Jung and his concept of synchronicity. The anarchistic and provocative ‘stunts’, and the nihilistic orientation, of the Dadaist were, nonetheless, not the trail of the surrealist. Although initially followers of Dada, the founding surrealists sought a ‘radical renewal of means; to pursue the same ends [as Dada], but by markedly totally different paths’ (Breton – cited in Gardiner, 2000, p. 33). The path of the surrealist was extra programmatic, aimed on the dawn of an intellectual revolution and never merely at protest, non-conformity, stunts, irrationality for its own sake and acts of damaging agitation. 7. For some, the position that these students are expressing on art and its function could be seen as elitist,
merely just one perspective, a private preference, or merely an expression of style. I think the key level right here is, however, that Adorno and Horkheimer have recognized that artwork appeared to have a important function which, as will be famous in this next section, has been surrendered or misplaced in the context of the rise of a tradition trade. It is the analysis of this loss that is the focus and as such is beyond the realm of simply a matter of style (see also Jameson (1991, pp. 298–9) for a parallel argument on postmodernism). The issue of kitsch was a major matter for some students of the Frankfurt School. Adorno and Benjamin had been very careful of their interpretation of kitsch. Adorno (1970/1997, p. 239) argued: Kitsch just isn’t, as those believers in erudite tradition would like to think about the mere refuse of art, originating in disloyal lodging to the enemy; somewhat it lurks in artwork, awaiting ever recurring alternatives to spring forth. Although kitsch escapes, implike, from even a historic definition, one of its

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most tenacious traits is the prevarication of emotions, fictional feelings by which nobody is definitely collaborating, and thus the neutralization of these emotions. Kitsch parodies catharsis. Ambitious art, nonetheless, produces the identical fiction of emotions; indeed, this was essential to it: The documentation of actually current feelings, the recapitulation of psychical uncooked materials, is international to it. It is in useless to attempt to attract the boundaries abstractly between aesthetic fiction and kitsch’s emotional plunder. It is poison admixed to all artwork; excising it’s today certainly one of art’s despairing efforts. (emphasis added) Benjamin (1927/1999a, pp. 4–5), in the context of discussing surrealism, refers to kitsch within the following manner: Picture puzzles, as schemata of the dreamwork, have been long ago found by psychoanalysis. The Surrealists, with a similar conviction, are less on the trail of the psyche than on the observe of things. They seek the totemic tree of objects throughout the thicket of primal history. The final, the topmost face of the totem pole, is that of kitsch. It is the last masks of the banal,
the one with which we adorn ourselves, in dream and dialog, in order to take in the energies of an outlived world of issues. What we used to name art begins at a distance of two meters from the body. But now, in kitsch, the world of things advances on the human being; it yields to his uncertain grasp and ultimately fashions its figures in his inside. The new man bears inside himself the very quintessence of the old varieties, and what evolves in the confrontation with a selected milieu from the second half of the nineteenth century – within the desires, as nicely as the phrases and pictures, of sure artists – is a creature who deserves the name of ‘furnished man’. 8. I have placed references to Horkheimer in brackets as a lot of this chapter of the e-book, together with the first draft, was clearly written by Adorno (see Wiggershaus, 1994, p. 323). Also a lot of the line of argument emerges from Adorno’s earlier work during which he was the single creator and which I cite in this section of the paper. 9. The time period ‘Enlightenment’ is used frequently in this paper and has an assumed philosophical which means. For those unfamiliar with the philosophy of enlightenment, the doctrines of Enlightenment embody: cause is crucial to the capacity to act; people are by nature rational and good; people and humanity as a whole can progress to perfection; all persons are created equal and should be accorded equality earlier than the regulation and particular person liberty; tolerance is to be afforded to all groups in society; beliefs are accepted only on the idea of cause (note: often the Age of Enlightenment is recognized as the Age of Reason); rationality is the common binding drive that transcends differences in tradition and creed and as such devalues customs and native practices to the extent that they perhaps traditionally primarily based quite than the exercise of purpose; the non-rational is to take a back seat to the rational, thus schooling is to be considered as imparting data somewhat than growing feeling, emotions, and art as the product of good style somewhat than genius (see Honderich, 1995, pp. 236–7). 10. Adorno and Horkheimer typically used the phrases culture and art interchangeably however in other situations have been more disciplined and used tradition as a more

36 Art as a Form of Knowledge
generic time period that includes artwork, music, film and so on. This is a crucial point as in their chapter on the culture industry after they refer to art they mean
the humanities extra usually as in tradition, yet they also single out the world of art, as in portray, for example. eleven. In utilizing the time period ‘capitalism’, I am prompted to comment that readers of Dialectic of Enlightenment need to be aware that some terms were changed from the mimeographed version of 1944. Euphemisms have been inserted such that: capitalism became ‘existing conditions’; capital grew to become ‘economic systems’; capitalist bloodsuckers was changed to ‘knights of industry’; class society grew to become ‘domination’ or ‘order’; and, ruling class became ‘rulers’ (see Wiggershaus, 1994, p. 410). There have been different small modifications to phrases and certain phrases that had been omitted, in acts of self censorship, in the pursuits of maintaining the goodwill and help of the American authorities. The Institute for Social Research, in Germany, that was the home of the Frankfurt School scholars was closed in 1933, underneath the Nazi regime, for tendencies deemed hostile to the State. The Institute moved its residence, quickly, to Geneva and then to New York, becoming affiliated with Columbia University. The Institute did not return to Frankfurt until 1949. 12. Adorno and Horkheimer used the now familiar tale by Homer of Odysseus to particularly highlight the dynamics of such a prolongation of work. For Adorno and Horkheimer the reconciliation of the obvious antagonism between work and pleasure, that appears in the tale, is attempted in the fashionable bourgeois in the same way, i.e. within the contemplation of artwork. The ancient story is considered by them as a parable for more recent times. Adorno and Horkheimer (1944/1997, pp. 34–5) clarify this ‘lesson’ and simultaneously present a restatement of Hegel’s master–servant parable: Whoever would survive must not hear the temptation of that which is unrepeatable, and he is ready to survive only by being unable to pay attention to it. Society has at all times made provision for that. The laborers have to be fresh and concentrate as they look ahead, and should ignore no matter lies to at least one facet. They must doggedly sublimate in further effort the drive that impels diversion. And so that they turn out to be sensible … The other chance Odysseus, the seigneur who permits the others to labour for themselves, reserves to himself … They (the oarsmen) reproduce the oppressor’s life together with their own, and the oppressor is not capable of escape his social role. The bonds with which he has irremediably tied himself to apply, additionally keep Sirens away from apply: their temptation is neutralized and turns into a mere object of contemplation – turns into art … Thus the enjoyment of art and
handbook labor break apart as the world of prehistory is left behind. The epic already incorporates the appropriate concept. The cultural material is in exact correlation to work accomplished in accordance with command; and both are grounded within the inescapable compulsion to social domination of nature. Measures similar to those taken on Odysseus’ ship in regard to the Sirens kind presentiment allegory of the dialectic of enlightenment. Just because the capacity of illustration is the measure of domination, and domination is probably the most highly effective factor that could be represented in most performances, so the capacity of representation is the automobile of progress and regression at one and the identical time.

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For a bigger discussion of the way during which the reconciliation of the apparent antagonism between work and pleasure has fashionable significance, see Carr’s paper ‘Understanding the “imago” Las Vegas: taking our lead from Homer’s parable of the oarsmen’ (2001a). thirteen. Further to the previous notice, this view has a lot in common and, in some senses, anticipated some of the work of Guy-Ernest Debord and his notion of ‘Spectacle’ (1967/1977). Debord described how, through capitalist rationalization, the individual had turn out to be alienated in a world of circulating pictures. Life was a spectacle to be watched from a distance somewhat than something the individual was an energetic participant and over which s/he had some sovereignty. 14. For a a lot larger discussion of this argument see Carr (1997), also Carr and Zanetti (1998, 2000). 15. In noting the nihilism of each surrealists and postmodernists it’s not the intention to infer that, philosophically, such a position could be held as some type of ‘ideal-type’. In the case of postmodernists, I actually have specifically challenged they match into such a black and white labelling system, for they do maintain a value place that focuses and privileges the neglected, the silent, the hidden and provides primacy to the ‘reader’ over the ‘author’ (see Carr, 1996; Carr and Zanetti, 2001).

3
Looking into/out of* Organizations Through the Rear Window : Voyeurism and Exhibitionism in Organization Studies (*delete as appropriate) George Cairns and Tamar Jeffers

For stylistic reference, see: A Hollywood Collection (David Hockney, 1965, National Gallery of Australia)

The very time period educational isn’t about type; it’s actually about attitudes, a drying-up, a sterility. (Hockney, 1976, p. 123)

Trailer
This textual content explores organizational studies from consideration of the context of the analysis subjects, when it comes to what constitutes value and that means for them, and how they generate ‘data’, value and which means for the researcher. We query whether or not the outcomes of observational and interactional interventions in organizations, as introduced in analysis stories at convention and in journals, are in impact mere representations of superimposed which means from the tutorial group. Do these (mis)representations have that means for the subjects in their own context of thinking/acting? We discover this subject by way of using metaphor – by reference to the art of David Hockney and the movie of Alfred Hitchcock. Since we advise that organizational analysis output could also be thought to be the fictional constructs of the writers, we cannot escape our own categorization. So, we provide here a work of ‘fiction’ on your critical consideration, and for technology of your meaning … hopefully. Dear … You are observer and noticed. You interrogate and seek meaning from this textual content. The textual content interrogates you, and seeks which means inside you. We are all/both voyeurs and exhibitionists. George, Tamar, … and You 38

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Enter …
The arena of group research (that) is characterized by presentation of
analysis and interpretation of the considering and acting of those from the world of group by these from one other world; academia. In this text, we seek to assume about whether or not the content of this characterization – the educational which means of organizational thinking/acting – is correlated, or merely co-related with that means generated by the themes themselves. That is to say, we think about whether or not the worlds of group and academia are contiguous in relation to which means generated – shared mental worlds – or merely in terms of the context of information era – a standard physical world. Can (must) the meanings generated by the communities of those different worlds be separated, such that each stands alone, with no meaning(full reference) to the other? If so, what function is served to those in organizations by the detached examine of those from academia? In adopting our personal stance, we should make some rather large assumptions about what is meaningful to these inside organizations in their very own context. The major assumptions we make are that they don’t conceive their scenario as rational and objective, and do not seek discount and unity in search of the causa finalis (Nietzsche, 1901/1968) – the ultimate trigger or function – of human endeavour in managerial thinking/acting. Rather, that their perceptions are complex and ambiguous, based mostly upon their own socially constructed reality (Berger and Luckman, 1966), derived of submit hoc rationalization (Flyvbjerg, 1998) and justification of their very own thinking/ appearing by software of the ‘knowledge creating colleges of all the human senses’ (Strati, 2000a). (This is, after all, an educational argument.) These assumptions could seem pretty self-evident to you, our educational reader. But, we wish to play around with the theme that, regardless of how hard we as lecturers try to avoid it, our own drive for construction of an applicable causa efficiens (Nietzsche, 1901/1968) in help of academic recognition forces us to lay our personal socially constructed ‘reality’ of organizational life onto situations. Whether overtly or inadvertently, the drive for success on the earth of academia is such that ‘the so called drive for data may be traced back to a drive to acceptable and conquer: (such that) the senses, the reminiscence, the instincts, etc. have developed as a consequence of this drive’ (Nietzsche, 1901/1968, p. 227). As citizens of academia, we search to say our individual ‘will to power’ (1901/ 1968), whether or not over existing academic concept, or over that means and understanding of (‘of’ which means both ‘in relation
to’ and ‘possessed by’) our analysis subjects in organizations. We play with this theme by use of metaphor, particularly the film of Alfred Hitchcock and the art of

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David Hockney, and consider whether our academic ‘reality’ of understanding group is mere post hoc rationalization of our academic voyeurism, and whether this is influenced by organizational actors’ exhibitionism – their need for his or her quarter-hour of fame. In ‘accusing’ fellow lecturers of voyeurism, we in fact stand accused of exhibitionism!

Framing our personal thinking
In his work, A Hollywood Collection, David Hockney frames the ‘subject’ matter of the person canvases, not by use of traditional external enclosure, rather by portray frame forms onto the canvas itself. In this way, he exhibits the body as integral to the portray, and as contributor to the overall interpretation and to the meaning connected to the work by the observer. Hockney additionally offers us prompts as to how we would interpret the works by the finest way by which he ‘names’ the content – e.g. Picture of a Landscape in an Elaborate Gold Frame (Hockney, 1976, p. 122). Whereas Magritte famously tells us in the title of his work that illustration isn’t actuality – ceci n’est pas une pipe – Hockney tells us precisely what his illustration represents. Does this then condition the viewer to simply accept the illustration as the reality? (whether or not this is Hockney’s intention). In looking for to explore additional Hockney’s work and the which means of it, we may draw upon an enormous range of literature. From a random selection, we are informed that his recent use of multi-image pictures as a substitute of painting overcomes the impediment that ‘taking a single snapshot would have made him miss the possibility to rearrange a few of the parts of the scene and incorporate many alternative viewpoints’ (Mark-Walker, 1999, p. 33). In relation to sexuality represented in his earlier work, another source informs us that ‘Hockney was on no account the primary English artist to make his homosexuality a theme of his art, but he was the primary to do in a garrulous, social means, treating his appetites as essentially the most natural factor in
the world and not, like Francis Bacon, as a pretext for the reflection on Eros’ energy to maim and dominate’ (Hughes, 1988, p. 76). From the primary source, we learn of Hockney’s intent in constructing the illustration. From the second, we study of his meaning for the illustration and we’re presented with important comparison with Bacon’s that means in representation of similar topics. Or, do we merely learn concerning the respective writers’ socially constructed ‘expert’ that means, that we the ‘uninformed’ are socially conditioned to accept as authoritative? Does the academic’s telling (or the standing of the tutorial who is telling) what their illustration represents to them condition the reader of their work to merely accept this representation as

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some form of authoritative interpretation? Let us now transfer on to think about Hitchcock’s Rear Window. Here, we as writers current our (re)presentation of one thing that we now have not originated, in help of our which means technology and as contributor to you, our reader’s own technology of interpretation and meaning in relation to our work.

Look at/through the Rear Window
L. B. ‘Jeff’ Jeffries, a well-known action photographer, is confined to a wheelchair in his house having sustained a damaged leg whereas photographing a motor rally. In the searing warmth of summer time, he impatiently spends his time searching of the ‘rear window’ of the condo into and over the shared central courtyard, into his neighbours’ rooms, and into his neighbours’ lives. Jeff is taken care of by two girls – one, his day nurse Stella massages his muscles, takes his temperature and urges him to not spend each night in his wheelchair staring out the window. The different – his girlfriend Lisa Fremont – is a rich, glamorous and highpowered fashionista, very a lot at residence with the members of New York’s smartest sets. Jeff resents the attentions of each ladies, shrugging off both Stella’s common-sense medical advice and Lisa’s amorous approaches, preferring to pay attention on
the lives across the courtyard, illuminated and framed like so many transferring picture exhibits. There is the unique dancer he nicknames Miss Torso, bending and stretching as she makes breakfast, and the couple who’ve forsaken their sizzling rooms to sleep outdoors on their balcony, and who decrease their little dog down to the courtyard in a basket. There is the sad spinster Miss Lonelyhearts, a male composer, a feminine sculptor, and a few newlyweds whose house blind stays resolutely down. Gradually Jeff turns into satisfied that another of the neighbours, the travelling salesman Lars Thorwald, has murdered his sickly spouse. Watching Thorwald leave his condo together with his weighty pattern case in the course of the night time, returning with it lighter, taking it out heavy again, Jeffries concludes that the person has reduce up his wife’s corpse and is disposing of it in sections. Falling asleep eventually, Jeff misses (but we, the audience see) Thorwald leave the house with a woman wearing black. Stella and Lisa become intrigued by Jeff’s persuasive case for the murder of Mrs Thorwald and urge him to name his old army buddy Tom Doyle, now a policeman. Doyle pours scorn on the idea, however, and opposes every of Jeff’s theories with a realistic different. His major put-down is that Thorwald was seen by Doyle’s superintendent, leaving the constructing with a woman who was seen again at Penn Central Station boarding a

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train for the little city where Mrs Thorwald’s family lives. At this level, Jeff admits defeat and agrees that he has been carried away by his melodramatic imagination. Lisa concurs and lowers the blinds on the courtyard show for the night time. The pair start tentative romantic banter (Lisa has come ready to spend the night) when a scream from the courtyard makes them elevate the curtain once more, and brings all the inhabitants across the courtyard to their home windows and balconies. (This marks the only second in the movie the place close-up photographs, not given from Jeff’s viewpoint, are permitted of the characters across the courtyard.) The balcony couple’s little dog has been killed. Jeff immediately guesses, his obsession welling up again, that the dog has been killed because it has been sniffing round in the rose bushes the place Thorwald has been digging and hiding one thing. Lisa
and Jeff turn their attention again to the residences and observe that only Thorwald is absent from his window, as everyone else tries to see what the scream was about. Jeff concludes that Thorwald’s lack of curiosity proves his guilt. Thorwald is soon noticed to be packing up, able to make his escape. Jeff, Lisa and Stella fix upon a tactic to delay him. Jeff writes a observe that Lisa delivers, demanding ‘What have you ever carried out with her?’. When Thorwald leaves his condo to satisfy his assumed blackmailer, Lisa positive aspects entry to look for a clue that can show the very fact of Mrs Thorwald’s homicide. The watching Stella observes and is distracted by Miss Lonelyhearts getting ready to take an overdose of sleeping tablets. She and Jeff seem helpless to help both woman, for just then Thorwald returns, however Jeff fails to see him in advance and to offer the agreed signal – calling the apartment’s cellphone to warn Lisa. Now he is torn between ringing the police to cease Thorwald’s attack on Lisa and summonsing an ambulance to Miss Lonelyhearts. However, the diversion of the suicide try is cancelled when the magnificence of the composer’s music stops Miss Lonelyhearts from killing herself, and Jeff and Stella turn their efforts on calling the police to Thorwald’s apartment. Helpless and nervous, they watch the police arrive and arrest Lisa for attempted burglary. However, she manages to show Jeff that she has discovered the clue they wanted – Mrs Thorwald’s wedding ring (Lisa had earlier argued that a lady would by no means have eliminated her ring through choice.) Lisa has the ring on her own wedding finger and points to it, knowing that Jeff can see her with the telephoto lens of his digicam that he has been utilizing like binoculars to bring the action closer. Thorwald observes this gesture, however, and realizing for the primary time that he is observed he directs a look back in course of Jeff’s window. When the police go, taking Lisa with them, Stella leaves to bail

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her out and Jeff is left alone and weak. Thorwald comes for him, asking the query, ‘What would you like from me?’ As he moves to attack Jeff, who continues to be in his wheelchair, the photographer makes use of the powerful flashes from his
camera to dazzle Thorwald momentarily. The flashes additionally alert the police who have returned to the courtyard with Stella and Lisa. From outside Jeff’s condo they watch as Thorwald struggles with Jeff and manages to throw him down into the area beneath. Jeff ends the film back in his wheelchair, with two damaged legs for his troubles. Lisa watches over him whereas he sleeps. Our representation of Rear Window is meant to be detached and factual. It recounts Hitchcock’s story line with out interpretation on our half (we have inserted a few explanatory notes in brackets, but these are clearly seen to be additional to the main physique of text). In getting into into dialogue of the which means that underlies thinking/acting of organizational actors that is meant to be indifferent and objective, the danger is that the inhabitants of academia go ‘off-world’ in relation to these whom they research. As Feyerabend (1987, p. 105) points out, ‘the worlds during which cultures unfold not only contain totally different events, they also comprise them in different ways’. However, if the researcher seeks to be detached from the world of her/his topics, the hazard is that ‘they’ll just inform them nonsense … which of course lots of the (researchers) imagine at first because they received it “objectively” ’ (Pirsig, 1992, p. 43). Yet, is our account of Rear Window truly detached and lacking emotional involvement on our part? Try as we’d, our account have to be valueladen, in that we have transferred the account from the context of the director to that of our personal interpretation. We have moved from the media of the visible and the In A Hollywood Collection, Hockney (1976, p. 122) plays with metaphor past the framing exercise. In Picture of Melrose Avenue in an Ornate Gold Frame, the ‘Melrose Avenue’ we see is only the sign (quite actually, the street sign) rather than the signified – not even an abstract illustration of no matter lies on Melrose Avenue. As we’re given the signal on this picture, we could be given the sign up academic research – the naming of the group or the folks within it. But, can we get to ‘see’ the signified at all? Do we, the readers construct our personal representation from the signal, a representation that we then postrationalize as residing as meaning throughout the text? Is the researcher’s report of a subject’s account simply that – a report of a report of an event that we do not witness, not to mention take part in? Picture of a Landscape in an Elaborate Gold Frame reveals us a illustration of a single tree – the picture is a illustration of a consultant sample from a
landscape. The single example stands for the whole and for all the other examples that make up the entire. Again, within the literature on research of organizations, do we see the representation of the person as representative sample of the whole, an abstract type represented by words from which we assemble a mental

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spoken word to that of the written word. We have lowered many minutes of words and motion to something you have learn in several minutes (see, we assume this textual content has actually been read!). Try as we’d, we cannot escape our personal illustration of Hitchcock – Ceci n’est pas un film. In coming into into discussion of the that means that underlies thinking/ performing within the context of organization research, we may seek out stories of organizational life in order to floor contextual interpretations of what it’s like to be/look in(to) organizations. For example: Q – ‘How would you describe this organization?’ A1 – ‘It was like a biplane: old fashioned, slow – struggling to remain within the air. Now? We’re like Concorde.’ Metaphor that’s easily interpreted to provide one individual perception of change – up to a degree (in time). A2 – ‘One of the directors was requested to inform what the group is like, utilizing metaphor – like an animal, or some kind or transport. He said it’s like Concorde! That was before the Paris crash. More like Concorde now than it was then … that’s sick! … but true.’ The which means of one metaphor modified eternally by a few seconds in historical past: its which means in historical past eternally modified in the perceptions of each observed(s) and (both) observer(s). image of the complete organizational landscape set within our psychological ‘elaborate gold frame’? ‘This is selfevident’ you could say. Of course such partial representations could additionally be read by some as post-rationalized representations of the whole, however postmodern critique has moved beyond such reductionist pondering. We know that writers corresponding to Derrida and Baudrillard (Sim, 1998) have explored representation and simulation. Yet, postmodern critique regularly cannot escape the very illustration of ‘meaning’ in artwork (e.g. Trodd, 1998) or cinema (e.g. Hill and Every, 1998) by way of the written word that it seeks to undermine. So, what is the alternative to illustration of images of organization via the written word? In challenging subjective research of organizations, will we replace dehumanized
objective analysis with the pointless abstraction of ‘dehumanizing nihilism’ (Nietzsche, 1901/1968)? Picture of a Pointless Abstraction Framed underneath Glass as appropriate metaphor? Does the metaphor provide which means, or mere superficial description? Is there that means past the superficial?

What do you see?
At the beginning of the film, curtains are raised on display – in addition to, or as an alternative of within the auditorium in which the viewer sits. This framing of the motion consciously locations the viewer in the audience of a present. Hitchcock makes explicit that this film will be preoccupied with and can play with notions of ‘looking’ – in images, theatre, movies, window buying, pornography, strip show, peep show. The viewers is implicated in this optic cut price. We take on Jeff’s curiosity so that when

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this is proved prurient, so are we – part of the ‘nation of peeping toms’ Stella condemns, although she herself quickly begins to take a look at the show through(out) the Rear Window. As the movie proceeds, Jeff’s voyeuristic engagement with the neighbours develops slowly from bare eyes to binoculars, then rapidly to the zoom lens on his digital camera. Lisa’s perspective modifications from detached disapproval to, ‘Tell me every thing you saw and what you think it means’. However, there is a sense that scenes are a half of Jeff’s fantasies – initially the back of his head is going through out in the path of the courtyard, so the pictures we see are his dreams, anxieties, desires acted out. His worries about commitment inside marriage, of being trapped in a ‘hot apartment’ with ‘a nagging wife’ are displaced onto Thorwald, and the ugly conclusion of Thorwald’s relationship each echoes his personal fears and, by way of enactment relieves them. As a result, Lisa and Jeff have a more healthy relationship at the finish of the movie. The other characters around the courtyard additionally embody sexual or relationship options. The Newlyweds begin lovingly sufficient together, he carrying her into their tiny condo as the road music down below appropriately warbles ‘That’s Amore!’ By the tip of
the movie, nonetheless, the husband has tried to escape from the marital bed several occasions for a breath of air at the window because the wife, shy and maidenly at first, become sexually predatory, querulously demanding his return. Miss Lonelyhearts starkly represents the options for a single lady in a big city when she is not a Lisa Fremont – eating alone and making do with an imaginary companion, or seeking a swift fix of romantic love in a bar, which quickly goes horribly mistaken. Her deliberate suicide is diverted by the music of the composer, a man surrounded by many women but not selecting any of them till the final stroll of the digicam across the flats. At the film’s end we see him, perhaps a little too tidily playing the now-recorded song for Miss Lonelyhearts. Meanwhile, Miss Torso fends off the wolves until her boyfriend will get home. The balcony couple has a dog as an alternative of a child, and the sculptor girl sticks to her trendy artwork. Thus the lives of the courtyard dwellers play out Jeff’s fantasies of the barren nature of married life and the self-fulfilment of the (single) artist. Note also that Jeff assumes Thorwald has killed his spouse in order that he can be with another girl – love between men and women must have murderous penalties. Rear Window elicits meaning for both viewers (who see) and an audience (that hears). Although the visual metaphors are those most remarked upon in important works on the film, the soundtrack of musical pieces and ‘incidental noises’ – children playing, vehicles honking – also performs an essential half in setting up the mood of the film. This insistence on the importance of

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both sound and imaginative and prescient within the film is deliberate on Hitchcock’s part, to reveal the significance of Jeff’s privileging of the visible, not only at the expense of the aural but in addition of the tactile. The movie exhibits that Jeff’s obsession with looking – to which his occupation as photographer licenses him – is more immobilizing than his broken leg which is a direct results of his fascination with the visual. Also, his relationship with Lisa is stymied because of this obsession with the visible – he both dismisses her verbalizations or makes an attempt to silence her (‘shut up!’), and he shuns dedication to physical contact together with her. Jeff can be obsessed with immobility and vulnerability. Lisa is predatory and sexually energetic, which
Jeff compares with Thorwald’s dominant place. He compares his personal scenario with that of Mrs Thorwald – both motionless and weak, the spouse in bed and the chair-bound ‘victim’. Although some critics see Jeff and Lisa’s relationship as being on safer floor after this journey, Jeff has not been cured of his obsession, only punished for it – one other broken leg, one other spell of immobility. The significance of this is bolstered with Lisa ending the film carrying jeans, not so that we can gloat over the end of her career desires or see that she has been punished, however to indicate that her legs are fully cell. The jeans show this off better than the New Look frocks she wears earlier that emphasize her child-bearing hips but hide the legs. Throughout the film the impotence of the spectator – who can only look however can’t have an effect on the action – is consciously played with by Hitchcock. He forces viewers to consider their very own voyeuristic impulses, their must know, to make sense of occasions, by portraying Jeff’s obsessive viewing of his neighbours which progressively intensifies as he makes use of first his ‘naked’ eye, then binoculars and then the teasingly phallic telephoto lens.

Final curtain – so, what do you see?
We have now supplied a sequence of interpretations for the actions that we now have previously endeavoured to describe in a detached manner. Do they present a real and accurate image of the picture? Of course not. But however, do they allow you the reader to color a richer image of what could or will not be the vary of intents and meanings that underlie the objective and detached view? Do they provide higher perception into the that means intended by Hitchcock in constructing Rear Window? We can but hope so. Some from academia search rationality and generalized transferable conclusions from their interpretations of data gleaned from organizational interventions. They proffer objective accounts of organizations with numeric data and statistical analysis to

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prove their verity. By these accounts, they search to explain the social
interactions of these they have researched, and of organizations in general. However, our ‘main objection against intellectual options of social issues is that they start from a narrow cultural background, ascribe universal validity to it and use power to impose it on others’ (Feyerabend, 1987, p. 304). Here, ‘power defines what counts as rationality and data and thereby what counts as reality’ (Flyvbjerg, 1998, p. 227) (emphasis in original). We argue that even the most determined effort to be goal and detached fails via needed choice and ordering, whether or not in secondary reporting and (re)presentation, or during the ‘real time’ engagement with occasions themselves. Even if it can be applied, is there worth in the indifferent and objective paradigm? Some, corresponding to Barnett Newman (Adorno, 1970/1997, p. xii) are cynical of such an method, making comparison with the detached and goal critique of the artwork historian in which ‘aesthetics is … like what ornithology have to be like for the birds’. For aesthetics, substitute organizational studies, administration science, management research, and so on, and so on. In such detached approaches, the dichotomization of observer/observed places energy, and thereby knowledge, in the hands and thoughts of the understanding and objective researcher, but objectifies the (non-)knowing analysis ‘subject’. The topic ‘I’ becomes the ‘objective’ researcher and the ‘subject’ becomes object – ‘I’ research ‘you’. What the researcher considers to be ‘objective’ information is not derived of ‘discovering what actuality “really” is … Rather, power defines what counts as rationality and data and thereby what counts as reality’ (Flyvbjerg, 1998, p. 227). In the extreme, the hierarchical ordering of knowledge becomes specific illustration of academic ‘will to power’ (Nietzsche, 1901/1968). If we learn Rear Window as metaphor for tutorial intervention in organizational life, Jeff the inexperienced researcher observes, interprets, constructs meaning, and tries to steer people who his view is the proper one, the only one. As Lisa and Jeff’s interpretation conflicts with that of the ‘professional investigator’ – the policeman Doyle who pooh-poohs their ideas and says it is all extra likely to be one thing much less dramatic than what they suppose – so the innovative interpretation may be dismissed by the skilled tutorial. We can see Doyle as the senior researcher whose role as ‘gatekeeper’ is to work out what’s happening according to accepted paradigms of knowledge era. He holds skilled and
reliable energy (French and Raven, 1959) – additionally the last word coercive power (1959) – to dismiss ‘irrational’ explanations that don’t concur with these paradigms even if these explanations do turn out later to be more

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closely aligned with the ‘facts’ of the case. Even after you could have read our accounts of Hitchcock’s Rear Window, there are numerous lacking ‘facts’, to not point out interpretations. As Hockney brings the frame/picture divide into our consciousness, so Hitchcock brings the framing of the movie into our consciousness by ‘matching the dimensions of the (apartment) home windows to different display aspect ratios’ (Curtis, 2000). Both Hitchcock and Hockney play with frame/subject/object relationships by displaying that the frame, normally removable from the sub/object that it frames and often ignored by the viewer, is an integral a part of the topic matter within and of the interpretation positioned on it. A additional instance – in ‘assisting’ Hitchcock to align his movie with what could be ‘acceptable’ to the viewing public, the distributors eliminated the scene in the midst of the movie by which the curtain that we see rise firstly falls and rises once more. This editing removes a strong message that we are watching a efficiency (of a performance). Similarly, the reviewer of our tutorial output may assist us to align our work with audience expectations or with the editorial guidelines of our target journal by imposing paradigms on us – ‘suggesting’ that we remove or revise sections that will not be acceptable, or that don’t conform to the norms of those audiences. On the subject of modifying, Hitchcock himself uses the strategy of ‘invisible editing’ in which the act of viewing someone observing is adopted by an action scene. Within the viewer’s mind, the linkage is formed that creates a perception of the on-screen observer watching this action. Yet, there is no trigger and impact relationship established past viewer perception. The viewer ‘invert(s) the chronological order of trigger and effect. The elementary reality of “inner experience” is that trigger is imagined after the impact has taken place’ (Nietzsche, 1901/1968, p. 265). We recommend that what’s learn as trigger and impact in literature on organizations might similarly be attributed to utility of chrono-logical publish hoc rationalization by the reader,
whether or not or not it is supposed by the researcher/writer.

Exit …
From this writing – we attempt to draw, not conclusions (to conclude is to end) but inferences on the nature of an method to organization studies that elicits crucial meaning for the actors throughout the organizational context. We have challenged the rational/objective strategy, and the product of the contextual/subjective approach, but we also see no value in fragmented nihilism in rejecting many or all of the constructed meanings for thinking/acting of/for these on the organizational ‘stage’.

George Cairns and Tamar Jeffers

49

What we argue for implicitly, let us now make specific. We search an method to organization studies that brazenly embraces ambiguity, complexity and distinction – without qualification – but not in a polarized opposition to rationalist unity (Anderson, 1990), and not inside a ‘cultural and psychological smorgasbord’ (Montuori, 2000). We search an anarchistic approach that proclaims and celebrates a ‘farewell to reason’ (Feyerabend, 1987), and that’s ‘against method’ (Feyerabend, 1993). However, we assert that these terms should not be read in a simplistic literal method, as a denial – setting irrationality against cause and anarchy towards methodology in ‘unhelpful false dichotomies’ (Feyerabend, 1999) that thrusts them into the category of nihilism and vilifies the considering that underpins them (e.g. Rand, 1984). We accept that the rejection of cause permits (requires, even) that ‘there could, of course, come a time when will most likely be essential to offer reason a quick lived benefit and when it is going to be advantageous to defend its rules to the exclusion of every little thing else’ (Feyerabend, 1993, p. 13). Similarly, the anarchistic rejection of methodology permits for all methodology to be accepted, which enables us to take a ‘perspectivist’ (Nietzsche, 1901/1968) approach to evaluation, such that we may seek to construct up a variety of rich pictures of group that use (un)reason and (non)method to explore a wide range of causae efficiens (Nietzsche, 1901/1968) that may provide interpretation(s)
and meaning(s) for and of actors in organizations. In seeking to know and provide which means to the thinking/acting of those who live out life on the earth of organizations, can we from academia have the time and/or inclination to interact with them in their own contexts (to actually see and hear, rather than simply to observe and record)? Or, are we too busy setting up and defending our personal mental excessive floor in academia to even share our stories and representations with one another? Are we beneath a lot strain to write down our own accounts for educational survival to actually have interaction with the accounts of others, let alone the ‘real lives’ of our subjects? Our argument is that the ‘different ways’ of noticed and observer in organizational studies are topic to hierarchical ordering, and that the observer – the researcher – is encouraged by the reward system of academia to turn into both voyeur and exhibitionist. The sociopolitical system of academia encourages its residents to show the behaviours of the observed into ‘fantasies’ for self-preservation at best, and self-aggrandizement at worst, the place academic ‘will to power has achieved mastery over one thing less powerful’ (Nietzsche, 1887/1994, p. 55). At this stage we’d return to the metaphor of Hockney’s work, suggesting an strategy to organization research that’s like his multiphotograph montage (Mark-Walker, 1999), showing views from different

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perspectives and over time. But, it goes much further. It is like the camera membership exhibition – pictures from all angles, at all times of day, evening and 12 months, by completely different photographers – and with the sub-/ob-jects of the works present to provide and share which means and interpretation. The hazard, after all (to mix our metaphors) is that our organizational montage will become a ‘smorgasbord’. But, nothing ventured, nothing realized. To this cut-off date, can we establish a longitudinal study of group that offers a quantity of views, interpretations and meanings, generated from throughout the group noticed and by those who observe? Is there such a research that has been subject to iterative switch across the observer/observed divide – breaking down the subject/object and subjective/objective dichotomies so as to keep away from reduction to(wards) a ‘single reality’ view, and so as to
enlarge and enrich the vary of pictures of organization? If you understand of one, please let us know. To be and not to be, that’s the answer. (not William Shakespeare)

4
Reconciling Aesthetics and Justice in Organization Studies
Mary-Ellen Boyle

Overview1
Drawing upon cultural studies and organizational sociology, I argue for the reconciliation of aesthetics and justice in organizational life and in organizational concept. Such reconciliation could create more humane organizations in addition to strengthen the rising area of organizational aesthetics. In order to advance this argument, aesthetics will be linked with justice at three locations: inside the organization on the website of labor itself, the place an aesthetics of course of is thought to mitigate standing inequalities; outdoors the group at the level of metaphor, where widespread images of group spotlight either injustice or aesthetics, however not both; and, within the public area of the media, where organizations current themselves to the world utilizing aesthetics and justice to have the ability to establish model identity. These three websites (work, metaphor, and brand) don’t present a complete overview of the chances for reconciling aesthetics and justice; somewhat, they mix to floor and to embody current thinking on the relationships amongst organizations, aesthetics, and justice.

Aesthetics and justice
Philosophers and social scientists have long contemplated the tension between aesthetics and justice. To the ancient Greeks, the 2 had been intrinsically connected: justice was a perfect dice, symmetrical and subsequently stunning (Scarry, 1999, pp. 129–30). In The Critique of Judgment, Kant (1790/1951) argued for an essential connection, asserting that, ‘the stunning is the symbol of the morally good’ (p. 198). Yet as modernity progressed, unfavorable aspects of the relationship prevailed: the hegemonic 51

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power of aesthetics was thought to interfere with a simply society. Foucault wrote critically about aesthetic politics (Osborne, 1998); Bourdieu (1977), provided the ideas of cultural capital and symbolic violence to clarify the results of society’s differential aesthetic values. Said (1994) argued for connections between literature and domination. Thus a political critique of aesthetics advanced, with the end result being that aesthetics and justice have turn into separate, antithetical considerations in the intellectual sphere. Cultural research students have just lately challenged this disconnection of aesthetics and justice. Gagnier (2000) accuses the market society of ‘forgetting’ the transformative energy of aesthetics in its need for consumption and profit. She writes of the implications of this separation, saying, ‘Before aesthetics was forgotten as a social drive or a handmaiden of the nice, the Fabian socialists thought that disgust – distaste – at poverty and violence could be a progressive pressure for its amelioration’ (Gagnier, p. 232). She argues for a reconnection of art and justice via her example of the theatre of the homeless. Scarry (1999) also decries the disconnection of aesthetics and justice, and argues again for an intrinsic link between ‘beauty and being just’. To her, the political critique of magnificence has relied upon two major tenets: the search for magnificence distracts attention from wrongful social preparations, and the gaze objectifies, reifies and thus destroys (Scarry, 1999, p. 58). Repudiating this ‘beauty blindness’, Scarry (1999), like Ramirez (1991), means that connection is at the core of valuing beauty, and beauty can inspire justice. Scarry’s reconciliation of aesthetics and justice in the humanities impressed my efforts to argue for the same reconciliation in the context of group concept. Consideration of aesthetics and justice within organizations (rather than abstractly) allows a grounded perspective on the tension and its reconciliation. Organizations are the place power is made seen, and both aesthetics and justice may be understood as constructed and negotiated through organizational processes. The lenses of organizational principle provide a starting point for understanding the construction of aesthetics and justice and the possibilities for reconnecting the 2.

Aesthetics and justice within organizations
Notwithstanding (or perhaps avoiding) this wealthy debate in the bigger academy, aesthetics and justice have been thought of individually, up to now, inside organization principle. Both organizational aesthetics and organizational justice are thought to be relatively undeveloped fields; and, as

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is apparent from the symposium held at the Academy of Management throughout summer season 2001 entitled ‘Organizational aesthetics: emerging area or passing fad?’, organizational aesthetics remains to be struggling to determine fundamental legitimacy. On the opposite hand, research of organizational justice are more established, although seemingly stalled. The subsequent section of this paper will convey the two fields together, and argue that group research are strengthened by such a synthesis. Organizational aesthetics and organizational justice share an acceptance of subjectivity, an consciousness of culture, and understandings of organizations as shared meanings. They differ in their breadth and approaches to ways of understanding organizational phenomena. The literature on organizational aesthetics is nascent, broad, and fragmented. Aesthetics may be thought-about both topic and method of understanding organizations. There are quite so much of empirical and theoretical approaches, and wide-ranging views on definitions and meanings (Strati, 1999). What all share is the need to conceptualize organizations as more than structured, goal-centred entities and to understand them from an emotional and symbolic perspective as opposed to a purely rational, logical view (Gorawara-Bhat, 2000). I recommend that the field will be taken more critically as definitional and methodological issues are resolved; however I additionally believe that its ‘faddish’ aura will persist till it is tied to legitimate (and politically salient) issues such as justice. Strati’s (1999) seminal guide makes little note of justice, although, citing Brian Rustead, he acknowledges that cultural studies scholars have taken on the ‘political neutrality of aesthetics’ (p. 183). It is that this presumed political neutrality that I wish to question. Organizational aesthetics claims to bring a ‘critical’ perspective to organization studies, yet this critque is delegitimized when it avoids normative claims. The organizational justice literature is narrower and
better outlined than that of organizational aesthetics, although it too is fragmented and seemingly indifferent from macro concerns about social justice. Within administration and psychology, organizational justice researchers are primarily targeted on the equity of micro organizational processes. Empirical work has involved workers’ and professionals’ perceptions of equity, with little analysis at the organizational stage. Methodological approaches are relatively conventional, relying upon survey analysis and ethnography (Cropanzano, 2001). Explicit links to aesthetics are not evident. This subject has struggled with politicization, however like much organization theory, has remained non-critical and largely descriptive. Despite the normative connotation of the term ‘justice’, this field shares

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an assumption of neutrality with organizational aesthetics. Although a founding father of the field acknowledges ‘no theoretical unity in conceptualizations of justice’, there’s some settlement that definitions of justice are socially constructed, and due to this fact that analyses of justice should account for this subjectivity (Greenberg, 1993). Why are these fields so undeveloped? Difficulty in conceptualizing core constructs is one reason; but there are others, associated to the character of the subject at hand. With regard to organizational aesthetics, it is instructed that group concept, like the humanities, could suffer from beauty blindness: the examine of aesthetics may be thought to distract from ‘more important’ issues similar to effectivity or revenue or fairness; on the identical time, aesthetic values within organizations could additionally be blamed for perpetuating injustice and masking political pursuits. The destiny of organizational justice is sort of completely different: it’s eclipsed by approaches to justice elsewhere within the academy. Justice is a common matter of social science, and infrequently studied in the office. Indeed, studies of social stratification look to the workplace as the first site for inequities to be made manifest. The whole labour process literature is concerned with inequities, and the sociology of work has questions about fairness as its foundation. So, while aesthetics could additionally be considered trivial, justice is ubiquitous – a situation removed from the right cube of the Greeks, and one which calls for additional scrutiny. I argue that connecting the 2 will
legitimize organizational aesthetics and revitalize organizational justice, whereas enriching organizational studies as a complete.

Methods of analysis
My approach is impressionistic and exploratory. I will examine organization/management literatures and replicate upon the consequences of mixing aesthetics and justice. Taking significantly Strati’s admonition to ‘embody’ our excited about organizations, I consider the body within the group is a labouring body, a sense-making body, and a consuming physique: ●

I will construct upon critiques of work and expertise, as well as the literature on caring work, to argue that aesthetics of the labour course of can cut back the status inequalities that outcome from so-called ‘nonproductive’ work, thus increasing potentialities for justice in the work group (Thomas, 1994). Secondly, beyond the labouring body, I contemplate how aesthetic knowing can enlarge present photographs of organizations allowing

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participants to make sense of their organizational experiences (Morgan, 1986). Attempts to control the physique have resulted in the familiar metaphor of the iron cage (Weber, 1921/1968), and though this image has been softened to a rubber and/or velvet cage (Ritzer, 1997), the cage symbolizes a place the place justice and equity are absent. I recommend that different photographs of organizations would possibly reconcile aesthetics and justice, or begin to foster this rapprochement. Finally, I contemplate organizations’ makes an attempt to encourage consumption via their manufacturers, as made evident through advertisements, especially these categorized as trigger marketing (Pringle and Thompson, 1999). I will use the visible public statements of Benetton and Phillip Morris (among others) to discover the mediated linkages between
aesthetics and justice. This aesthetics of the model might be revealed as a contested area, where embodied data, mental knowledge, and pictures of justice and beauty are subsidiary to corporate objectives of profit and survival. The public relations machine is subject to a moral critique that has bearing on the query at hand ( Jackall and Hirota, 2000).

These three websites, embodied and visualized, supply a selection of prospects for the reconciliation of aesthetics and justice inside organizational research.

Aesthetics and the labour process
Paid work has always concerned each product and process, and capitalism rewards every in a unique way. The labour process literature (Braverman, 1974; Edwards, 1979) explains the privileging of psychological and artistic/craft labour in the occupational hierarchy. Manual workers are thought to use simple brawn rather than brains, and consequently are rewarded much less. Gender additionally plays a role in perpetuation of work-related status inequalities, as established in the literature on caring work and emotional work, additionally course of somewhat than product-oriented (Hochschild, 1983/1985; Noddings, 1986). Technological developments, while minimizing the need of ‘brawn’, have nonetheless resulted in disparate work arrangements and perpetuated organizational injustices. Robert Thomas argues that inequitable rewards within the present hierarchy of work could be rectified by an aesthetics of course of. In explaining the continued secondary status of producing, Thomas (1994) argues for ‘philosophy of manufacturing that values the

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integration of the social and technical methods of manufacturing, rather than values one on the expense of the other’ (p. 7). Aesthetics is at the core of this revaluation, as a end result of, based on Thomas (1994), there might be much that folks do that machines cannot, particularly, ‘the artwork of manufacturing’ (p. 259). He means that aesthetics has worth in and of itself in organizations, and that this worth is reflected within the respect and rewards given to one body of workers over another. In the case studies Thomas
presents, the product designers are more influential and respected than process engineers, usually to the detriment of the end end result (as well as the detriment of the workers). This is a political process and is mediated by the social exercise of power. He concludes that if manufacturing is to achieve its deserved energy, and if organizations are to turn into revolutionary and competitive, an aesthetics of the labour course of should parallel the standard aesthetics of product (Thomas, 1994, p. 247). Aesthetics and justice might thus be joined in the labouring physique, leading to fair and effective organizations. Using Thomas’ reasoning, it is attainable to think about that different kinds of devalued work could be subjected to an aesthetics of process: we could acknowledge and revalue the ‘art’ of nursing or instructing as a way to remove unjust work arrangements that are prevalent in the caring occupations. Other organizational scholars have written concerning the aesthetics of course of, showing how the expertise of magnificence influences the processual aspects of organizational life and affects competitiveness (see, for example, Dean, Ramirez, Ottensmeyer, 1997). Moreover, the ‘art’ of administration has been the topic of a minimum of one management advice e-book (Dobson, 1999). Nonetheless, this processual strategy has not been explicitly linked to status inequalities or broader issues of social justice. I suggest that such linkages are essential, and that an aesthetic of the labour course of can tackle the labouring physique past the prevailing dichotomies. If aesthetics and justice are to be reconciled and synthesized in organizational life, it is properly to start with rewards given to the labouring body, a well-known expertise to all. Process-oriented theories of organizational aesthetics might acquire legitimacy by being linked to the well-established physique of knowledge on the labour process, as nicely as by being used in a concrete method to elucidate real organizational phenomena. In addition to reconceptualizing work processes inside organizations, it is necessary to rethink the photographs used to depict organizations. As the following part will reveal, metaphors of group can depict both justice and aesthetics, with unacknowledged power.

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Aesthetics of the iron cage
Organizations do not exist – buildings exist, staff and clients exist, and work merchandise and processes are actual. But organizations are abstractions. Yet because the earliest scholarly assessments of organizations, their abstract nature has been made materials, by way of metaphor. Organizational members, too, use metaphors to make sense of their lives within organizations. Gareth Morgan (1986, p. 12) writes persuasively in regards to the importance and energy of metaphors: ‘For the use of metaphor implies a way of thinking and a way of seeing that pervade how we understand our world usually.’ He suggests that multiple metaphors are necessary so as to encompass the vary of human expertise and to keep away from oversimplifying our understanding of organizations. I am not arguing for a single metaphor, either, however I do consider that present metaphors are both insufficient and too highly effective, paradoxical as it could seem. One set of pictures that I will study here stresses the injustices of organizational life, regardless of the possibility for justice or to magnificence. Another set of metaphors reflects aesthetic methods of figuring out, but doesn’t incorporate issues of justice. If we’re to reconcile aesthetics and justice in organizational life, we must question the normative power of existing organizational metaphors and create new metaphors. Such new metaphors should depict the bodily experience of organizational members, the connection between people that’s the prime reason for organizing them, and the potential for justice and sweetness inherent in organizational life.

Metaphors of injustice and ugliness
Max Weber’s thought forms the muse of organizational concept, and his imagery stays powerful. Weber’s ‘iron cage of rationality’, used primarily to describe bureaucratic structures, symbolizes not a benign abstraction, however a confining and inhumane place: a jail. This picture is neither lovely, nor simply; though it may be thought of to be in the aesthetic class of the ugly (Strati, 1999, p. 186). This ugly picture is highly effective, primarily as a outcome of it obfuscates Weber’s nuanced evaluation. Weber was crucial of the bureaucratic constructions of his day, but he also wrote concerning the potential of bureaucracies (as opposed to paternalistic kinds of organizations) to advance honest remedy and create the leveling wanted for democracy. Despite this complicated argument, what remains most vivid is the negative metaphor –
the image of the iron cage. This metaphor may be accurate – people could experience organizations as

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if they have been in a cage (iron, rubber, or velvet) (Ritzer, 1997), and, most importantly, the metaphor could additionally be normative – managers may properly consider injustice to be inevitable in a prison-like structure; staff may see ‘iron cages’ as impervious to change. I counsel that the ubiquity of the iron cage poses an issue for the aesthetics of organizations and for organization theory more usually. A beautiful metaphor, and/or one that suggests justice is preferable, if to not describe organizational life (which may nicely be ugly) then to exert normative drive. Alternative photographs have been proposed: Morgan (1986) lists machine, organism, brain, culture, political system, psychic prison, flux and transformation, and instrument of domination. These pictures vary from impartial to value-laden, and clearly Morgan perceives that organizations play a role in perpetuating injustice (i.e. the psychic jail and instrument of domination metaphors) even as he doesn’t explicitly acknowledge their aesthetic features. None of these metaphors suggests that organizations could probably be BOTH locations where aesthetic figuring out occurs and the place justice exists; and due to this fact the dominant images probably limit our expectations.

Metaphors of beauty
Contemporary organizational students have taken on the challenge of latest metaphors, notably these which would possibly be creative and those that eschew mechanistic views of organizations. The image of group as ‘moral maze’ is much less damning than the cage, though it still reflects confusion regarding what is correct, and connotes a lower than liberating construction ( Jackall, 1988). Morgan (1986, p. 361) elaborates upon his photographs of organizations to incorporate consideration of texts, teams, games, and, theatre. Strati (1999, p. 192) suggests the metaphor of group as hypertext, rejecting the ‘strong ontology’ of group as museum. Thomas (1994), elaborating upon his aesthetics of course of in What Machines Can’t Do, suggests that repertory theatre presents helpful insights. He states, ‘The
efficiency of a season of performs and the manufacture of a line of automobiles are not as dissimilar as they may seem’ (p. 259). These inventive photographs could embody our experiences of organizational life, just as the group, the maze, or the game may. Yet they are troublesome to depict visually (except the maze) and due to this fact restricted in their metaphorical power. As normative influences they are weak, weaker than the cage or maze. More importantly, these pictures, regardless of their magnificence and a focus to the embodied expertise of organizational activity, do not necessarily

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depict justice. Aesthetic figuring out can be empty without an express connection to the greater good; consequently, our sense-making as we reside in organizations is restricted if only aesthetic, whether or not ugly or lovely. So the challenge is clear: we must take seriously the injustice of the iron cage AND the probabilities for beauty envisioned by the jazz group or orchestra, and reconcile justice and aesthetics in metaphors of group. I have no images to recommend, although I am entranced by these touching palms (Plate 1).

Aesthetics of the brand
At this level I examine the pictures that organizations create of themselves by way of their advertising efforts. Manufactured by their public relations machines, these manifestations of organizational identification call upon our bodies, in addition to social and aesthetic values, to create and sustain model consciousness. Consider the familiar illustration of Benetton through its numerous campaigns. These (Benetton’s) are aesthetically appealing pictures that take a clear place on problems with social justice. Is there a means during which such exemplars of cause advertising and/or model awareness could assist in the goal of reconciling aesthetics and justice in organizational life? Or, is reconciliation at the stage of the brand too tarnished by the inherent injustices of capitalism? Art critic Herbert Muschamp (2000) posits: ‘In a consumer culture, beauty is often a smokescreen’ (p. 39). Yet, MUST beauty be a smokescreen when organizational image-makers craft their brands? To tackle these questions, I will assess several examples, and
refer to current important writing on brands and public relations. Benetton might be contrasted with Philip Morris as to the affect of product and the intent of the commercial; then a NIKE occasion will show how savvy activists have used the justice-claims of the model advertisements to strain for social change, presenting a hopeful different (Klein, 1999). I conclude that whereas advertisements are sometimes aesthetic, and sometimes depict pictures of social justice, they serve multiple stakeholders and may be delegitimized as a consequence. In the case of Benetton, problems with social justice are addressed in an aesthetic method, albeit for commercial functions. These are embodied pictures, bodies valued as consultant of an identification claim: young, old, white, black, Muslim, Catholic, gay, straight, male, feminine (Plate 2). All are beautiful, by the requirements of Western culture, and represent not only identification but in addition the reconciliation of social conflict. While some of these

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images may be designed to shock, this shock isn’t violent, however somewhat gentle and bemused. Cultural critics might argue that the company has appropriated these social points, and trivialized them via their connection with a brand and thru their brilliant colours and pleasing images. I recommend that within the case of Benneton, magnificence and justice may be superior and reconciled, as a result of the Benneton advertisements usually are not directly linked to a specific trigger, nor is the product very controversial. This appears particularly apparent when compared to the advertising efforts of Phillip Morris. This firm makes use of artwork and its help of artwork organizations as properly as social causes in order to deflect attention from social criticisms of its product. Their objective is obviously optimistic public approbation, as made apparent by the truth that they spent approximately $75 million per yr on charitable activities, publicized by a $100 million corporate-image campaign (Levin, 1999). Here the ‘smokescreen’ is real. The firm advertises its commitment to aesthetics and social activism, only to veil the non-public and social injury caused by its major product, cigarettes. The effectiveness of such a branding strategy cannot be assessed from an goal standpoint, but I would enterprise to say few are positively impressed by this effort at image
manipulation. These two examples are thinking about what is not stated: Benneton by no means mentions social points in its visual supplies, and makes no claim to justice or to performing upon the issues it depicts. Nor does it point out its primary product, clothes. Phillip Morris doesn’t mention its product both, but its claims to a higher good are visible and loud. If magnificence is a smokescreen, it is veiling the product itself, in a new type of advertising technique designed to extend brand awareness through indeterminate claims. Such vagueness may join magnificence and justice and thus enhance the model; nonetheless, such vagueness can also allow much less favourable interpretations. Certain efforts have backfired of late, as described by Naomi Klein (1999) in NO LOGO. She writes, using NIKE as her prime instance, ‘The extra successful this project (branding) is, the extra weak these firms turn out to be: if brands are indeed intimately entangled with our tradition and our identities, after they do incorrect, their crimes aren’t dismissed as merely the misdemeanors of another company making an attempt to make a buck’ (p. 335). She describes how savvy activists are holding corporations to their claims of social accountability, thereby forcing the social change that is only implied by trigger advertising campaigns. Building upon her analysis, it appears that aesthetics and justice could additionally be reconciled as activists force promoting photographs to turn out to be reality. Another important perspective on the equipment of promoting and organizations’ images of themselves is set forth by Jackall and Hirota (2000) in

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Image Makers: Advertising, Public Relations, and the Ethos of Advocacy. The authors embody both personal and public sector organizations in their assessment of advocacy, they usually argue that the ubiquity of advocacy has created an American culture of ‘fun-house mirrors’ that ‘refract, distort, and even invert reality … in complicated, refined, and surprising ways’ ( Jackall and Hirota, 2000, p. 7). Asserting that visible pictures have gained ascendancy over verbal arguments, they state that simplification and unintended penalties end result. Most importantly, they conclude that we, as a society, don’t benefit from the ascendancy of the ‘image makers’, that we live in a make-believe world, the place ‘presentation is all’ (p. 227), and the outcome is
social and experiential centrifugality. I counsel that aesthetics scholars should take seriously Jackall and Hirota’s caution concerning the oversimplification and ascendancy of the image – the sphere will not be legitimized if pictures are the publicly acknowledged artifact of aesthetic understanding, whilst we rely upon such photographs to grasp and judge not only products however organizations as an entire. In considering the aesthetics of the brand, the fun-house mirror seems all too apt a description: Benetton sells clothes through aesthetically pleasing yet conceptually jarring photographs addressing social issues; Philip Morris sells cigarettes by promoting its philanthropy to social justice and inventive causes. The image makers of those brands have appropriated cultural values and tried to appease varied stakeholders, including artists, activists, and customers. Aesthetics and justice are joined, however only at the level of the image. If ‘presentation is all,’ then images are distorted and superficial. Going past the image, I suggest that aesthetic methods of knowing would add essential complexity to the refracted reality and too-simple imagery at present in use. Moreover, reconciling aesthetics and social justice could circumvent superficiality by grounding the image-makers. A justice-informed aesthetic of the brand would transform it from a feel-good endeavour to a automobile for social change. While group concept has little to say about advertising and branding, the sector might be superior by recognizing the multiple stakeholders addressed by marketers and manipulated by image makers. An aesthetics of the model, coupled with social justice tenets, might broaden organizational research by asking scholars to consider organizational id from the external perspective.

Conclusion: poetic justice?
As described above, the aesthetics of the labour process, aesthetics of the iron cage, and the aesthetics of the model illuminate disparate areas of

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concern to organizational scholars: work, metaphor, and brand. The reconciliation of aesthetics and justice is achieved differently at every of the three areas, but, taken together, these three locations encompass
important areas of concern. Thus the scope suggests an impact on group studies as an entire. In the case of labor, aesthetic understanding is proposed as a way to enhance justice. The inequities present in present employment arrangements could possibly be rectified if the processes of manufacturing and caring are considered from an aesthetic perspective, not just from the view of use-value and manufacturing. Practically, this implies greater emphasis on the value of aesthetics for people who decide work preparations. For example, Thomas (1994) suggests paying process engineers on the identical stage as designers; we can also envision paying childcare employees as nicely as accountants are paid. Taken at a theoretical degree, adding aesthetics to the labour course of literature would require a considerable reorientation, to have the ability to stress the non-rational and subjective. While resistance is likely, additionally it is potential that the labour course of literature could presumably be revitalized by consideration of emotion by way of aesthetics, especially as labour process theorists wrestle to totally conceptualize service work. The subject of organizational aesthetics may achieve in legitimacy by such an incursion into the well-established study of the labour course of; furthermore, connecting aesthetics in a positive way to a extra just workplace challenges the core tenet of ‘beauty blindness,’ i.e. that the search for magnificence hinders our concerns for social justice (Scarry, 1999). Beauty can improve the pursuit of organizational justice, at the degree of labor in addition to metaphor. With regard to metaphor, aesthetics and (in)justice are already evident within the dominant organizational metaphor of the cage: iron, velvet, or rubber. Hence, reconciliation is much less essential than a reorientation. I suggest that new metaphors are wanted, metaphors that encapsulate aesthetic methods of knowing organizations and depict just social relations within organizations. This argument may be challenged on the grounds that the cage is ‘merely’ a metaphor, or by disagreeing with the normative energy of present photographs of organizations. If metaphors are neutral, then alternatives corresponding to hypertext, or repertory theatre, or clasped arms shouldn’t be threatening. Yet whilst alternative metaphors are instructed, we should remember one of many key arguments of the organizational aesthetics and cultural studies fields: images matter to many stakeholders, and even as photographs are open to multiple interpretations, their orientation in the course of humanity (or inhumanity, in the case of a cage) will be used by managers and policy makers to make
real

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decisions. Consequently, neutrality is not amoral, somewhat, it contributes to continued injustice. The subject of organizational aesthetics could be legitimized and strengthened by rediscovering the potential for aesthetics to be a ‘handmaiden of the good’ and new metaphors are an important side of such a rediscovery (Gagnier, 2000). The connection of aesthetics and justice with regard to consumption poses thornier issues for the theorist and practitioner. Since manufacturers actively use aesthetics and/or justice to promote a product, the questions that should be requested are the next: Do brands devalue aesthetics? Do manufacturers contribute to or distract from social justice? Conversely, is magnificence a smokescreen? Again the power of the images cannot be understated; what’s interesting is that the power may be appropriated by numerous constituencies. Klein (1999) describes ‘brand bullies’ and the backlash, although the impression of the activists remains to be uncertain. Jackal and Hirota (2000) would argue that the visible pictures of the brands are the problem, since pictures deny complexity and counsel simple solutions. In this indictment of pictures (more precisely, the picture makers of the title), they seem like discounting the aesthetic way of understanding the world, in distinction to students of aesthetics and organizations who believe that aesthetic knowing permits the complexity and nuance lacking from the ‘rational’ perspective. Yet brands and advertisements (as aspects of selling in general) ought to be of interest to scholars, since these are the tales that organizations tell about themselves to the world, and these stories explicitly appeal to the non-rational, the sensory and the emotional. From the activists’ perspective, if companies are to be held accountable for their contributions to injustice, then their ‘stories’ should be used as well as their stability sheets. To the theorist, the aesthetic of the brand remains contested ground, with the competition between aesthetics and justice just one rigidity amongst many. Neither reconciliation nor separation is the plain winner, though it can be argued that organizational scholars ought to take this contest significantly, for the rationale that brand is the language of shopper capitalism and an emerging area for social
activism. More analysis is required. Managers and policy-makers use aesthetic values (among others) in various methods: to create work arrangements which might be kind of truthful, to make organizations conceivable and thus meaningful, and to encourage consumption. Therefore, whereas aesthetic understanding will not be normative in intent, or in principle, it has normative and potentially unjust penalties. Aesthetics has cultural foreign money – and thus power. But this energy has been restricted by its purported disconnection from the necessary issue of social

64 Reconciling Aesthetics and Justice

justice. I believe that beauty and the higher good have to be connected so as to set up the significance and legitimacy of aesthetics as a way of knowing organizations, and to be able to create a extra simply society. Social justice has the political currency that can create the desired legitimacy, satisfying both the theorists and the activists amongst us. Ottensmeyer asks, ‘How would possibly we bring art, artistry and wonder extra explicitly into organization theories and administration practices?’ (1996, pp. 190–1). I reply that we might be strengthened on this endeavour by including consideration of social justice.

Note
1. An earlier model of this chapter was introduced as a part of a symposium entitled ‘Organizational Aesthetics: Emerging Field or Passing Fad?’ on the Academy of Management Annual Meeting, Washington, DC, August 2001.

Part II Work as an Aesthetically Ordered Activity

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5
Work as an Aesthetically Ordered Activity: Introduction
Philip Hancock and Adrian Carr

Part II of this quantity marks a shift away from the largely epistemological
issues that dominated part one, and in the course of a consideration of labor and its organization as itself an aesthetically ordered exercise. In doing so, it combines both a variety of theoretically informed approaches, in addition to numerous completely different sites of analysis and analysis, together with organizational video games, songs and the our bodies of organizational members themselves. What is particularly important about these contributions we might counsel, nevertheless, is that they challenge the standard disregard for questions of aesthetics and sensuality that disciplines corresponding to organizational studies and industrial sociology have traditionally shown. Instead, they show to us, with great clarity, the ways during which aesthetic experience pervades a variety of organizational settings and practices. While this can usually be skilled as a expertise of control and authority, at different times, or in other instances, it might possibly also facilitate patterns of resistance in each thought and exercise or contribute to the processes of self-identification, both on the stage of the individual and the group. Considerations are of issues such as these are on the forefront of Chapter 6, entitled We’re All Partying Here: Target and Games, or Targets as Games in Call Centre Management. Here, Catrina Alferoff and David Knights mix a broadly post-structuralist-driven labour course of analysis of organizational relations of power, with the position aesthetics play in structuring and facilitating both the exercise of managerial control, and the method of employee resistance throughout the setting of the contemporary call centre. Drawing on extensive empirical field analysis into actions inside three UK-based call centres, the authors mix interview, observation and documentary information to offer a rich perception into a quantity of features of the everyday aestheticization of working practices and the tensions and conflicts this may give rise to. 67

68 Work as an Aesthetically Ordered Activity

Prominent amongst their findings is the function the strategic deployment of aestheticized artifacts and activities – notably video games – play in underpinning or reinforcing numerous managerial attempts to enhance organizational effectivity and, in turn, productiveness. These include something from washing lines adorned with underwear, to various competitions that are
linked on to enhancements in efficiency and productivity. What appears to be central to such managerial interventions within the everyday experiences of their staff is an try not only to promote an aesthetic of fun – one which detracts from the comparatively inflexible nature of their work – but equally the era of an impetus to greater ranges of organizational dedication mixed with the set up of a refined, but extremely efficient, know-how of employee surveillance. Nevertheless, regardless of this, the authors are fast to note that the proof also suggests such methods are themselves not often complete of their success and that workers, whereas typically willing to go collectively with such practices and events, often display a deep-seated resentment in the course of them. This is itself interpreted by the authors as a form of aesthetic resistance, in that it tended to derive from what particular person employees thought-about to be an invasion of their aesthetic house; that is their capacity to manage their very own basically aesthetic interactions with others, including their clients. From the realm of games and artifacts, we journey subsequent, courtesy of Nick Nissley, Steven S. Taylor and Orville Butler in Chapter 7, into the sphere of organizational track and a consideration of its structuring results on the motion of both organizational employees and consumers. Reminding us that while the research of group discourse has been extended to a variety of areas, until now that of music – and significantly its lyrical content material – has been largely overlooked. However, in their chapter, entitled The Power of Organizational Song: An Organizational Discourse and Aesthetic Expression of Organizational Culture, they show how song can provide vital insights into the relations of which means that flow into within the workplace. Focusing notably on the corporate songs of a major US residence equipment producer, the authors current us with what they term an archeological approach to the research of organizational life. That is, they got down to uncover and consider specific fragments of an organization’s actions, in this occasion its songs, as a means of gaining perception into the tradition of the whole. Illustrating extensively their descriptive passages with extracts from a spread of songs, they go onto develop a theoretically knowledgeable analysis of the ways during which such songs could be understood both to replicate the actuality of the present organizational

Philip Hancock and Adrian Carr 69

culture while, at the identical time, perform as a know-how of organizational power that both permits and constrains its membership and those that come into contact with it. As such, songs can maybe best be understood as technologies of mediation, working at the interface between the subjective and goal dimensions of organizational experience. Finally, we turn our attention, by way of the work of Nancy Harding in Chapter 8, to the relationship between aesthetics and the ordering of the human physique. Building on earlier work concerned with what has been referred to as aesthetic labour (Hancock and Tyler, 2000; Warhurst and Nickson, in press), Harding takes a particular and distinctive take a glance at the our bodies of organizational managers, and the function aesthetic labour performs within the structuring of their very own subordination to the imperatives of capitalist group. This highly participating chapter supplies an in depth theoretical framework for its subsequent evaluation drawing, particularly, on a Foucauldian tradition of critique directed at uncovering the simultaneous process of subjectification/objectification the managerial physique experiences because it goes about its everyday organizational actions. This is based on the proposition that it is not only the employee’s bodies that are sculpted and labored on in order to generate an organizationally acceptable embodied aesthetic, but also managers, who are each subjectified in that they are self-constituted as a symbol of ‘conformity, rigidity and obedience’, whereas on the similar time embodying an objectified organizational aesthetic that’s amenable to the gaze of the opposite. The embodied means of administration is thus itself an aesthetically ordered exercise, one that functions each as a logo of organizational energy and a know-how of internalized management, performing again onto the supervisor who’s trapped within his/her personal corporeal ‘iron cage’.

6
We’re All Partying Here: Target and Games, or Targets as Games in Call Centre Management Catrina Alferoff and David Knights

It is straightforward to make parallels, as do Fernie and Metcalfe (1997), between the
organization of work in name centres and Foucault’s conceptualization of ‘heavy duty’ surveillance that occurs in prisons and different carceral organizations. An aesthetic reading of Discipline and Punish (Foucault, 1991) evokes almost the identical shivers as a chilling fairy story. We empathize with the fate of the prisoner and other victims of internment, discovering of their subjection and interrogation by the gaze analogies with bureau-corporate control in call centres the place ‘the objective discharge of businesses is according to calculable rules and with out regard for persons’ (Gerth and Mills, 1991, p. 215). In the everyday call centre, serried ranks of mainly feminine staff donned in cumbersome telephone headphones are bent over their computer systems looking for to translate micro-electronic information into meaningful customer communication. Charged with offering excessive levels of customer service, there look like few opportunities for social interaction between work-mates. Behaviour isn’t solely observable by managers dotted across the room in strategic positions, but additionally by the electronic panoptican that has the capacity to trace the person on a second by second foundation and display their actions in hyper-real simulation (Baudrillard, 1983) as colors on a pc display screen. Despite the fact that the pathos of this imagery is intuitively plausible, we think it extra appropriate to characterize the organization of name centres as disciplinary, where the ‘disposal of space, [and] the meticulous regulations which govern their inner life constitute a block of capability – communication’ (Foucault, 1986, p. 218). While related, these three components of any organizational follow – space, regulation 70

Catrina Alferoff and David Knights 71

and communication are to not be confused or conflated, as typically happens when surveillance techniques are seen as wholly determined and totalizing of their management. Power relations are contingent; they could compete, contradict as properly as reinforce one another. They may also, not only be re-aligned from above, but additionally be re-appropriated from under (Knights and Vurdubakis, 1994). There is no denying that many, if not most, name centres are workintensive environments where work is usually repetitive and unrewarding for the closely managed particular person. They can be places where too strict
an adherence to statistical efficiency analysis can have the consequence of de-motivating workers. To avert this drawback, name centres typically use competitions as incentives to inspire and reward high performing staff (Collinson Grant Consultants, 1999; Knights and Odih, 1999). This management technique could be taken to extremes, as was the case in one of the organizations researched right here. Every obtainable floor was plastered with a plethora of artefacts symbolizing individualized and team-based competitions, delicate quality and customer-related pictures and exhausting site, team and individual efficiency statistics (see Plate 3). According to Gagliardi, artefacts are the most immediately perceptible of all of the physical and symbolic bounds within which people move (1990b). At first look, an immediate sensory perception of the color, shapes and association of these game and performance-related artefacts instructed party decorations and an aesthetic local weather surrounding work. However, a better scrutiny of the discursive materials confirmed the low stage of permeability that is feasible within the boundary between work and play (Dandridge, 1986). While managers are keen to ‘soften’ the tough atmosphere of the work intensive situations attribute of call centre operations, the aesthetic trappings and trimmings not often fooled workers in our case studies. Linstead and Höpfl (2000b, p. 1) argue that aesthetic approaches to organizational analysis ‘problematize the rational and analytical analysis of organizations’. We accept that such analyses remind us of how organizational life displays a multiplicity of rationalities and a posh interpenetration of purpose and emotion and art and method. What we have problematized, however, is aesthetics as a rational software of administration management. For in our personal case research, there may be little doubt that management sought to appropriate aesthetics for their own functions of accelerating productivity and controlling employees. It is also clear that this strategy was lower than profitable, although we cannot know, counterfactually, what might have been the case had the aesthetics been absent. Our concern is much less that of promoting an aesthetic analysis to

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challenge the so-called rational method to group studies as much as
understanding how aesthetics could additionally be appropriated for a diverse range of functions and used differentially by distinct teams in the exercise of their energy and pursuits. Presumably, mental analysis is all the time in some methods rational, however it need not see one kind of rationality (e.g. linear or mathematical logic or economic rationality) as exhaustive of either the subjects/objects, or the agents, of research. In our analysis, we now have found aesthetics deployed instrumentally for economic rational functions and those same purposes being resisted for aesthetic causes. We acknowledge the significance of aesthetic artefacts in both the mundaneity and the manipulation of organizational actions. Without adopting an ethnomethodological analysis, we subscribe to each Jeffcutt (1993, p. 47) and Silverman’s (2000, p. 130) view, the place they each declare, that part of the group theorist’s work is to discover and represent ‘the extraordinary qualities of the ordinary’ in everyday organizational life. Our concern in this paper, then, is to present some original case study material on call centres, the place numerous aesthetic and/or playful materials and symbolic artefacts had been a lot in evidence. While recognizing that an inherent side of all forms of communication is the paradox of meaning, we search to analyse the use of aesthetic supplies inside our case studies by method of an analytic of energy and resistance. Three possibilities are examined: (1) Aesthetic supplies merely deployed as a administration system for creating and sustaining the commitment and assist of staff to the corporate goals. (2) Aesthetics organized as a method of assuaging the monotony and intensity of work; a rest of control in order maybe to regain it. (3) Bottom-up means of worker resistance to aesthetics as a smokescreen for work-intensification or the technical rationality of labor. The chapter is organized as follows: first, a quick summary of the case research and our method of analysis is provided. This is followed by an examination of organizational aesthetics as a type of direct or oblique administration management inside which new and more elaborate incentive schemes are discussed. A third section considers some of the resistant responses of staff to management controls however their softened appearance on account of aesthetic interventions. An evaluation then follows where an try is made to grasp the proliferation of aesthetic artefacts in these name centres and some of their failure to offer something greater than a
superficial softening of the work intensification

Catrina Alferoff and David Knights 73

experienced by customer support advisers. Resistance to the various controls is then analysed in terms of an aesthetic of the self whereupon we provide a brief conclusion that pulls out the implications of the evaluation for the examine of service employment extra typically.

The case studies
While broadly following a case research method of interviews, observations and documentary investigation, on this paper some of our knowledge is illustrated by way of photographic evidence (Dougherty and Kunda, 1992) of the utilization of organizational artefacts. We were permitted to take pictures of some of the cultural artefacts in the telecommunications firm. In the ‘noisiness’ of the environment, this organization certainly led in the ‘wow’ issue, although each of the opposite organizations referred to used comparable photographs to a lesser degree. ‘While most analyses of organizational cultural artefacts use written, or verbal content’ (Dougherty and Kunda, 1992, p. 187), we draw on both verbal records and images as a way of displaying the lived experience of labor in a managerially constructed ‘aesthetic’ surroundings. The information informing this paper was gathered from three name centres: Commsco, one of many Customer Service Centres for a national telecommunications firm; Northern Finserv, one of many Customer Service Centres for a national financial providers and banking firm; and, ‘Big Book’ a retail and home buying catalogue firm. At the time of the research, all three companies had been introducing quality or buyer care programmes1 of differing depths and protection, however typically involving elements of multiskilling, team-working, new human useful resource administration and, most significantly for this chapter, changes within the incentivization of work for customer support advisors (CSAs). Brief details of the businesses and workforces are given under. Commsco is a nationwide telecommunications group working across a selection of fields both nationally and Commsco Customer Service Centre (CSC) is considered one of a number of sites that cope with inbound service calls and billing enquiries. There are 200 advisors employed full-time or
part-time, of whom 80 are agency employees. It is a predominantly female workers, eighty per cent of who are under forty years of age. Team managers are responsible for teams of as much as thirty blended dual or single expert Customer Service Advisors and report directly to the Centre Manager. As with the opposite two companies, the centre staff also includes a communications staff and an operations or assets team. At the time we began the research at Commsco CSC it was within the first few weeks of a quality trial which we followed via the six months of its piloting.

74 Targets as Games in Call Centre Management

The Northern Finserv name centre is one of 4 customer support centres covering the telephone banking operate of a medium-sized nationwide financial services firm. The Northern website offers with credit cards, loans, current accounts and insurance coverage. The web site takes overflow calls on mortgage and investment enquiries, but passes these on to different of the companies websites. There is someplace between 250 and 280 full time equal positions at Northern Finserv, with approximately seventy five per cent of staff working part-time. As is usual on this sector, nearly all of workers are female (75 per cent) and aged between 18 and forty years. The organization has a comparatively flat structure with staff leaders responsible for 18–20 Customer Service Advisors (CSAs) and reporting to one of many four Customer Service Managers (CSMs) who report directly to the Centre Manager. At the time of the analysis, six teams in the call centre were taking part in a Customer Service Trial, related in many ways to the standard pilot at the Telecommunications Company. Big Book, residence shopping catalogue employs 1,400–1,500 name centre employees at the case study site, 250 in telemarketing and 1200 in telephone ordering and monetary companies.2 The daytime workers is mainly girls between 25 and forty five years with a youthful workforce on the later shifts. Team leaders are responsible for 12–18 CSAs and report to shift managers who report to useful managers, however since this organization has a matrix construction, senior managers could also be sited elsewhere. This organization has suffered from a extreme downturn in gross sales and is presently considering moving to focused telemarketing with devoted promoting groups to exchange the present type of service and gross sales outgoing calls.

Organizational aesthetics as control
In this a part of the chapter we study workplace aesthetics as types of direct or indirect management; that is, the primary two of the three potentialities listed earlier. In the former, targets, incentives and comparative performances are shrouded in game-like competitions and contests which are intended to rework productivity pursuits into an exercise of fun. Indirect management normally involves the looks of a rest of management through the introduction of aesthetic enjoyable and games, however this is all within the name of improving efficiency. Call centres are highly efficiency driven workplaces. Targets may be across the variety of calls taken per hour, the percentage of calls which are transformed to gross sales, measures of buyer satisfaction, adherence to procedures in the course of the shopper advisor interaction. The digital displays on the electronic boards or pc screens are reminiscent of seaside or Christmas illuminations. But their messages are disciplinary; they convey the

Catrina Alferoff and David Knights 75

number of calls waiting, calls handled, common call handling time, stage of service and variety of gross sales and act as a constant reminder of the extreme demands of the work. In the everlasting options of their internal structure, the call centres resembled each other in some ways regardless of their differences in measurement. Generally they comprised a number of very giant rooms with workstations arranged either in rows seating up to 12 call centre advisors, or smaller carousels seating 4 or 5. In addition, a small number of (often) glass-fronted offices exist at one aspect, or each ends of the room(s), used mostly for one-to-one conferences or value determinations. In these large openplan offices, it is only senior managers which have individual workplaces. In these performance-driven settings, info on name handling, sales or customer service targets could additionally be displayed as instructions, statistical charts, or within the form of video games or competitions, making bright splashes of colour in opposition to the neutral background of the call centre. These artefacts are produced internally, both by members of the communications staff, or by front-line management. They are a combination of computergenerated clip art,
hand-made indicators, Christmas decorations, celebration gear and bits and pieces from particular person or staff video games – archery targets, dartboards and football goals. Theme days are also well-liked managerial gadgets. One took the form of utilizing the World Cup soccer event as an occasion for a contest and dressing up in the different nationwide costumes of the individuals. In Big Book the stays of the Christmas campaign, a hearth, decorated tree and parcels had been gently gathering mud in a single corner, having been overtaken by the Spring campaign with yellow, green and white balloons and streamers. This company has a tradition of sociability and charitable giving and customer service advisors run Birthday clubs, journeys out and varied raffles and competitions to boost cash for charities. On one visit we found the whole of phone ordering festooned with washing traces of knickers for a charity marketing campaign. This group is traditionally paternalistic and fosters varied money-raising activities by staff in work time. A closer scrutiny of the artefacts displayed in name centres reveals the ambiguity of the messages they carry. For occasion, the festive imagery, ‘Spring Madness’ at Big Book, with balloons and ribbons was an incentive designed to arrest the drop in orders. Averaging the inducement at Northern Finserv integrated extra CSAs into profitable roles than had been potential earlier than the client care programme, but imposed new duties on self-governing individuals in delivering empathy quite than the exhausting promote. The Commsco CSC ‘World Cup’ had been devised to engender accuracy in the usage of the structured call and

76 Targets as Games in Call Centre Management

involved acceptance of extra monitoring within the type of managers listening in to calls. Brilliant archery targets carried messages about targets on customer complaints and quality buyer responses. Gifts of food and drinks are designed to drive up sales, the place managers feel that their staff is falling behind in competitors with their peers. This fragment of an interview with a substitute group coach (Ann) offers some indication of the strain between fun and management that underlies the use of targets as video games in a piece setting. The interview starts with an enquiry about some of the pictures across the Commsco name centre: A We normally have competitions on. At the second we’ve obtained snakes and ladders. There’s some kind of competition
that they will win something. Last week we had ‘Fun within the Sun Day’, folks came dressed as one thing funny, the place we had individuals in sarongs and shorts and hats and issues like that. Q What was the weather like? A It was Wednesday and it was horrible! [Ohh!] I know! People coming with flowers in their hair! But, you understand, just a good feeling and then to remind them, sure things that they needed, like last week properly it was route – path – go we dropped on. There’s lots of various things that they do – and attempting to raise their spirits, if like they’ve dropped. Or, if morale is low for no matter purpose, each few weeks we attempt, like, lift their spirits. Next week we’ve received, I think it’s next week I suppose it is something to do with soccer and every team on the positioning has chosen a football team and we down listed under are Holland [at the time the World Cup was going on] and we going to really compete in opposition to each other, the teams. Q How? A I suppose it’s going to really be your products and your companies [the part of the structured call where CSAs try to resolve the enquiry and take the opportunity to advertise a product or service whereas they’ve the shopper on the line]. Q Those are your targets, are they? [They have moveable soccer goal posts hooked up to pillars in the room.] A Yeah, and all things like that. And they’ll be inspired to, like, have a match towards each other by doing this stuff [using the proper structure for the call]. Who is going to be the general winner and then subsequent Friday there’s going to be on the groups do one thing to do with their nation that they have truly chosen. Don’t know what they will do with Holland, probably have a windmill. My team

Catrina Alferoff and David Knights 77

Q A

Q A

(because I’m actually upstairs) we’ve chosen Italy, so I really don’t know what they’re going to do up there. So, are most of these actions pretty round principally competition between groups on promoting products and services? Yeah, they’re about selling products and meeting targets, but they are not
often towards one another. But, I assume subsequent week just to do one thing completely different to encourage everyone. So there’s at all times something going on? What concerning the people who say, ‘I’m not going to bother?’ Well perhaps they want particular person teaching then, or dialogue with the supervisor if they are not meeting – they’re not meeting their particular person targets. You don’t typically find that there’s that, as a end result of most people do what they are expected to do.

Here, the use of targets and video games extends past their deployment as a easy administration gadget to create and sustain the dedication and help of employees to the corporate objectives. They seem to be used as a method of assuaging the monotony and depth of labor – a relaxation of management to have the ability to regain it3 – ‘lifting their spirits if like they’ve dropped’ (Ann, Team Coach, above). Much the identical could presumably be mentioned of the latitude of Big Book administration. They encouraged a way of community by allowing call centre employees to arrange charity fund-raising during work time and taking a hands-off method to the Birthday Club the place CSAs beautify the celebrant’s workstation and gather money for presents. This group has the status for paternalism towards its employees, who see the company as an excellent employer and are loyal to its aims, while still resenting the targets for calls per shift. Visually, the structure of the call centre does not provide much in the finest way of clues as to the social relations of the work setting. Neither gown codes nor location give a sign of standing, and there could be no discrimination in using services (e.g. automobile park, canteen, wash rooms, and so on.). However, it might be misguided to make the assumption that this implies fully autonomous working, since a central resources centre includes a staff dedicated completely to monitoring all of the activities of the decision centre. Incoming and outgoing calls are checked, timed and analysed. The activities of all call centre employees are displayed on a pc display as blocks of colour, whether waiting for calls, engaged in a call, going over the desired time for that specific call, logged-off, or logged-on to the system. Furthermore, by way of the technology this information is quickly accessible to administration at any time. Any unspecified behaviour is relayed again to managers who’re expected to

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take corrective motion. Information on the variety of calls handled, services or products bought, calls deserted and quality of service figures is captured and collated by administration. It is then fed again to the ground in the form of digital displays hanging where they are often observed by all workers, and weekly statistics on particular person or team efficiency presented to group members on the weekly team briefs, ‘buzz groups’, or ‘huddles’. The integration of two applied sciences, the phone and the pc allows management to faucet into all of the activities of call staff, whether or not on the telephone, or utilizing the computer. Call centre employees are fully aware of the capacities of this ‘electronic panopticon’: Everything we do there’s a footmark left. It’s on everyone’s account, when we go into it – there’s a notice to say that you’ve been in. So we’re getting – you’re followed, each step. Checked with the computer. If nobody else is listening to you, the pc has received you marked. (CSA) This response means that a seemingly de-humanized and dehumanizing train of power is profitable in engendering symbolically conditioned behaviour and in stimulating anticipated responses (Hatch, 1997a). Such an organization gives the alternative for the: [p]erfect train of power that is efficient and effective in that it reduces the variety of those who train power, whereas increasing the number on whom it is exercised and it makes it possible to intervene at any second to stop mistakes or misdemeanours, while growing productivity. (Foucault, 1991, p. 206) Foucault was referring largely to carceral institutions, however early commentators on call centres have drawn direct parallels. They have centred consideration on the heavy self-discipline and surveillance facilitated by the power of the know-how to watch and drive employees to ever increasing ranges of manufacturing in these fashionable ‘sweatshops’ (see Fernie and Metcalfe, 1997). While this sort of account has been criticized as overdeterministic (Taylor and Bain, 1999), our analysis found that such ‘heavy duty’ surveillance was accompanied and alleviated by makes an attempt to present the work as enjoyable. In common with other research (see Knights and Odih, 2000), our case study companies acknowledged that by concentrating exclusively on output efficiency, there was a hazard of undermining the quality of customer service. Accordingly, many call centres vacillate between the extremes of

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coercive control through time-discipline and its leisure within the pursuit of a ‘better’ high quality of customer support (Knights and Odih, 2000). This normally entails some loosening of time self-discipline or gross sales targets to better meet the customer’s needs, and subsequently, mediating effective efficiency of the decision with an affective component. An incorporation of both business and human components into the house of the call is not always an easy accomplishment for either staff or managers. This is as a end result of organizational cultures have developed where everybody tends to fee performance when it comes to the quantification of outcomes, and figures are seen as measures of non-public success and achievement. A staff chief in Northern Finserv describes the finest way it has changed her work: It’s modified from statistician and lugging items of paper round and calling on your clients on an everyday basis, and dealing with their queries on a regular basis to the only time when I speak to prospects is if it’s a very, very concerned query. It needs a call that involves a lot of money or it’s a really sturdy complaint. It needs to be a very critical complaint, because my staff are fairly succesful at answering these queries themselves, and the departments it has to go to, and it’s simply changing the greatest way I work. I am not having to oversee them on a daily basis. [But letting go and relying on her staff to ship the required level just isn’t at all times easy for her, as demonstrated on this comment]: And once I got the primary week’s stats, I thought [deep consumption of breath] oh! oh no! But then I checked out my pals within the corner and ‘show me yours from yesterday’. And then I thought, ‘fine’. It was a extremely unhealthy day and we’d been taking about 4 calls an hour, ‘something may be very wrong here’. No, I didn’t discover it difficult to let go, but I do know that some of them are still finding it troublesome to not come down on workers and say, ‘why have you ever been unavailable for thus long’. I’m very laid back anyway offering my employees are happy, and the shoppers are joyful, nicely that’s what we’re right here to do.

The makes use of of incentive schemes in call centres
As has been implied, aesthetics as an embellishment of management management usually requires some further financial or different incentive for it to be
effective. Individual or group achievement in call centres is commonly related to incentive schemes in some or other kind. Recent surveys have discovered that incentive bonus schemes play an integral position in many name centres. These may be linked either to particular person efficiency or to targets set for groups, the group, or the whole company. The most typical

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method of payment is a lump sum, calculated as a share of wage and linked to targets set for the company (IDS, 1997, p. 29). Beyond these commonplace schemes, particular person and group incentives in the type of games and competitions are additionally in style with call centre administration. A latest survey found that between fifty nine and sixty six per cent of name centres hold these occasions often (Collinson Grant Consultants, 1999). These competitions range in size from short-term pushes for spot prizes corresponding to bottles of wine, tickets for concerts, or pizzas to longer-term projects with holidays abroad or weekends in luxurious motels as the massive prize. Two of our corporations, Commsco and Northern Finserv had been within the process of implementing customer service schemes covering all or part of the decision centre employees, alterations which made the former methods of assessing performance inappropriate. Whereas, efficiency had been judged in accordance with the number of calls taken per hour and/or the number of calls that might be converted to a sale (bearing commission for the customer support advisor), the refocus to a customer pushed ethos lowered the chances for making gross sales on as many calls as beforehand. At Commsco, administration had compensated by introducing a selection of video games and competitions to reward satisfactory customer service. Northern Finserv was, on the time of the study, trying to give you an incentive scheme that may work throughout the decision centre. One main drawback was that the corporate needed to abandon the ‘hard-sell’ that had existed with huge incentives prior to the change to a buyer care programme. But most of the pilot groups and their group managers were decidedly reluctant to lose these incentives and threatened to desert the game if the advantages were not introduced according to their expectations: I don’t mind doing the client [care] trial, however by means of the workers being disadvantaged financially I can’t have the staff deprived. Two issues would occur; one they’d turn
around and say ‘I don’t need to do it, I’m not interested’ and take the bat and ball home and never play and, two, ‘I’m incomes money by promoting products, so, if the trial falls flat on its face, I’m nonetheless incomes as a lot as possible.’ (Team Leader) His team had a sure standing as the top promoting staff, but the rationale for the trial was to stop simply the actions that introduced them £90–£100 per thirty days in bonus payments. This CSA describes the thrill of the chase: [Y]ou could give folks sure numbers to call, you would transfer folks via to a special division – that meant that you

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could cope with calls shortly and select calls that were more profitable to you and when you thought you could promote them something. I nonetheless attempt to promote, but as I was saying, you’d select the folks that you just offered to, perhaps get 2 or 3 merchandise out of them at a time. After the client care trial had began, this excitement in the call was very a lot decreased: You do look now on the gross sales immediate, and yes, it might say, ‘offer them this product, or supply them that product’ and you’re taking a look at them and also you might say to your self, ‘well, they don’t really need anything, they’ve received Visas and every thing and we’re not aggressive and that’, and you’re considering to yourself, ‘I’ve obtained to let this individual go off, without promoting them a product’. Some methods it’s good for the client, as a result of we did used to get various – antagonize numerous clients that we offered to. This group had managed to retain its outstanding position as a top-selling team by strategic means, seeking out info on changes and maintaining one another knowledgeable about merchandise, which would yield incentive points. Members of different teams have been much less sanguine about their capability to beat a system they noticed as skewed against them: But the motivation of gross sales is that they don’t have any creativeness to consider tips on how to give incentive, saying, ‘OK you’ve offered good customer support and you’ve got a really good call technique, we’ll give you this’ however there’s no incentive, like you can get a very good call approach, and also you get nothing. (CSA) Big Book has experienced a severe downturn in sales over the last two years. There have been redundancies at senior administration level, and above, and feelings of insecurity amongst call
centre staff, with some leaving to search out jobs elsewhere. Interviews with name centre employees revealed that they were involved about the future of this part of the company and felt that they played a major function in its future survival. The company labored on a web site bonus and spot competitions in the inbound part of the decision centre, seasonal and different campaigns and gross sales points in the telemarketing section. At the time of this case study, telemarketing management was contemplating introducing dedicated selling teams with a higher degree of reward via incentive schemes.

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Some use has been manufactured from incentives prior to now – vouchers for employees discount on catalogue merchandise, however lately there was extra constant use of incentives. This began with a trial final year on retention notably in relation to getting customers to increase the insurance they buy on white items, or electronics. CSAs were able to declare the incentive after passing on the decision to the appropriate department. Although it was profitable in phrases of profitability for the corporate, it was not seen as truthful since just one staff of the 70 in phone ordering and telemarketing scooped the pool. The trial brought in £1.75–£2 m within the six weeks of the trial as opposed to the £300,000 on the identical period the previous 12 months. Financial providers have now devoted a sum for incentives this year. There are two schemes operating at current, one for adding a sale on to an inbound cellphone order – to eliminate unsold stock and the second on retention – extending the additional care warranty. The ‘Spring Madness’ marketing campaign at Big Book pays out prizes in three phases: £250 to the most effective team, phase one, £500 section two and £750 for part three, and a vacation as well. On the add-on, the inducement pays out 15 pence per item on 2 per cent above the 7 per cent of calls that offer a selling opportunity. Retention also has a spot the ball competition for promoting points on retention; CSAs get one square for 250 points and will win as much as £250. On retention, if CSAs pass on no more than 2.5 per cent of calls that could be handed on they are rewarded with chocolates and wine. The prizes then are similar to Commsco: luxury food, wine, holidays and also monetary reward. CSAs compete with games introduced as seasonal, with the suitable artefacts, or staff video games. One day time
shift supervisor asked how the incentives have gone down mentioned that they had been profitable with new, younger workers, who had been recruited into an environment the place they gave the impression to be established, but they’re less successful with older staff, who didn’t see promoting as a half of their function. The shift supervisor thinks this means they need a change in culture and coaching in promoting expertise. This shall be introduced up at their quarterly critiques. Asked what older staff think of the incentives, a team leader mentioned that they see it as ‘more of a panic measure’. This team leader tries to sell the advantages of the incentives by telling her group that selling and retention is what’s maintaining their jobs. But she did say that plenty of people moan as a end result of ‘they don’t think that the prizes are very good’. In the next part of this chapter, we turn to the third of our list of potential ways of analysing our information in discussing the ‘bottom up’ practices of resisting the technical rationality of work even when the control has been modified or mediated by aesthetic artefacts.

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Resisting aesthetic control4
Before the trial customer care programme, Commsco had lengthy suffered under a regime that prioritized time targets. This had resulted in CSAs feeling unable to ship a satisfactory degree of customer support and tons of deeply resented the intensity of their work. Once the trial was introduced, staff anticipated a level of latitude and, in terms of time targets, a measure of rest did happen. There was additionally some rest of the call script in that employees were given extra discretion and autonomy on the content stage of a previously highly rigid four-part call construction, involving scripted openings, specified content material, recap and closure. However, these concessions have been granted at the price of vastly elevated monitoring, a method designed to deliver common improvements in the level of customer service. Games and competitions had been additionally developed and designed to deliver this modification in technique. Experienced CSAs were not convinced by a system of oblique control via aggressive rewards, arguing that since they took pride in their work, extra incentives had been unnecessary. When asked how he and his colleagues reacted to the instructional and competitions posters, one CSA
gave a fairly dismissive response: It’s all all the way down to particular person alternative, as a end result of I possibly would need a little bit longer than the others and I don’t notably enjoy that type of component. I am often successful in what I do, in selling and issues like that, I don’t particularly enjoy that, and sometimes I see it as a bit trivial on what we do – so, I don’t significantly get pleasure from that. As lengthy as my figures are A-Ok, generally figures you must use as a suggestion, not as a carrot and stick type of environment. I generally suppose they are. He indicated that he tends to decide out of the competitions for he sees them as divisive the place a workforce is composed of individuals on a wide range of full and half time contracts and infrequently working in teams with differing alternatives to participate: Something that doesn’t seem to be popping out is, I look at these competitions – and the competitions for the teams and I ask folks – how does the team get collectively and decide what to go for? And they are saying, ‘oh they don’t’. No, it’s fractions of the team, you’ve received your billers and your helpdesk, you got part-time, you bought full-time workers and you’ve got, you know, everybody’s on completely different rosters. I’m, being one

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of the older ones, I’m on a 9–5, Monday to Friday and there’s others on a six-day roster. Sometimes you don’t see people – majority shall be on depart or on some totally different shifts, or whatever. So, you do miss out. The incontrovertible reality that the competitions have been shrouded in aesthetic wrappers appeared to don’t have any impact on the extent of his resistance. Similarly, the aesthetic environment didn’t prevent or decrease workers resistance to the rising level of management over the construction of the decision. As one operative put it: I may say, ‘thanks for calling’, that was, that come naturally to me. So when we got advised to say that and the extra we get scripted, the extra I hated it, as a result of, I was like ‘you know, I’m a person and I take a call in another way to my colleague would, as a end result of I’ve obtained a unique personality, so I’d say different things mechanically than I would to anyone else. We are all different’. So, initially I was really, I don’t know, I was just put out as a outcome of we couldn’t, I felt like they have been making an attempt to knock that it’s one other persona. (Female CSA, Commsco CSC) Both of these CSAs
resented the best way in which, whatever the attempt by management to make work extra fun, individual distinctiveness, selection or persona was being subordinated to a company normal and that everybody was anticipated to conform. This CSA had refused, in particular, to adjust to the recap component within the call and was present process particular training in a crèche created to cope with nonconformists. Asked about the recap and the scripting, she said: Umm, I feel it’s somewhat bit unnecessary, if we’re doing the job accurately, which, hopefully we’re doing, we go through it with the client and inform them at the time how much it will be. I can perceive the rationale behind it – like cutting the dialog off, so you control the dialog, however it seems to be so strict about it that even calls that you’re not even giving the customer something only info and you’ve received to recap, proper, like that woman before wanted to know the way lengthy discover to offer when she is transferring. And, you know? We aren’t giving something, only information. We aren’t telling her how much it’s going to value, or anything like that and they’ll pull you up when you don’t recap.

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Her complaints prolonged to a criticism of administration battering you into submission to their preferred stereotype: I really feel now they don’t really – from that you simply were there doing all your job, they don’t actually know you as a person anymore, you’re just part of the trick in the field. As lengthy as you conform to them they’re fantastic. There’s no, like, give and take from them. They need set, stereotype particular person – if you’re not that way they sort of battering into you. Elaborating this demand for conformity through the enjoyable of participating in a football recreation, referred to earlier, with each team representing a World Cup nation neither enhance matters nor was wholeheartedly endorsed by staff. The thought was for workers to dress up in the costume of various countries taking part in the World Cup qualifying matches, but only four or 5 of the 200 employees appeared in fancy costume and a type of was a group coach. The sport was designed to reward CSAs that stuck to the formal construction of the call and thus involved a marked increase in monitoring for the accuracy of the customer response. This was deeply disliked by many CSAs who couldn’t deliver themselves to use it: Now,
it’s the format, it’s ‘hi’, determine your self, establish the shopper, each side of the shopper needs to be recognized for compliance causes. Then you go into the situation with the client. Again applying, what I thought was a pure factor anyway, however now it’s much more seemed into, you’ve received to be nice to the shopper. I always deal with the purchasers as how I wish to be spoken to if I was ringing somewhere. But, clearly, it’s more seemed into and there’s features of the call that you’ve received to introduce all the way in which through it. We’re a practice site in the intervening time. You’re being checked x number of times a day by the coaches, your manager is checking your telephone calls and tells the coaches what you’re saying to the customers, it’s ex-sited by a remote team who are doing extra checks on our calls than they’d do on nationwide calls cos they’re checking the quality. And there’s additionally other distant locations the place the customers are called again by an independent bureau asking them what they considered the call, how the decision was handled, and then their view. Despite indicators and posters about the right use of the four elements of the call, CSAs continued to resist its right delivery (see Plate 4). Signs everywhere in the call centre within the form of clouds, crowns, clasped hands and waving human figures all devoted to implementing the correct

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opening, recap and closure for the decision did not persuade CSAs who complained that the format made them sound like robots, or counter employees at McDonald’s. Another CSA expresses her distaste for the structured name, which she as an experienced employee finds demeaning. As we’ve identified, relaxing the third content material stage of the decision appeared to push administration into being far more rigid about the different three components, and particularly the detailed recap of what had been mentioned: The ‘recap’, and in the meanwhile there are quite a selection of the older workers who really feel that they are being harassed by it. It’s being pushed down their throats each sort of half hour, all through the day. Wherever you look around the workplace, all you see is that this notice with recap, recap. You’re regularly being given pieces of paper all through the day to remind you to recap, recap. As I say, the older people are feeling slightly bit humiliated, these little signs all about something we’ve always
been educated to do. (Female CSA, Commsco CSC) At the time that conformance to the requirements of the quality initiative were in place, the site incentive scheme which awarded factors for the sale of certain products and services was turning into less rewarding – with factors obtainable being scaled down. CSAs felt fairly resentful about this. So, the froth or aesthetics of name centre work didn’t substitute what had been to them a tangible incentive worth striving for. What appears to have been an necessary foundation for resistance was the sense in which management appeared intent on squeezing out any workers individuality or autonomy. This could be seen as merely an unintended consequence of their preoccupation with administration control – a function that tends to be a mirrored image of the anxiety and insecurity that call centre managers endure in having so few means of demonstrating their competence other than sales or service output.

Discussion
Often introducing features of fun and video games into work and altering the form of incentivization may be part of a bigger change in work organization, as was found by Kinnie, Hutchinson and Purcell (2000). Fun and video games may give the impression of worker involvement and, of their case research, incentives have been part of the wider ‘high commitment’ Human Resource Management bundle, including additionally training, multiskilling and team building (Kinnie et al., 2000). Such was additionally the case in Commsco where related measures had been introduced and to

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a lesser extent in our different two organizations. However, the import of presenting work as ‘fun’ even when it is readily discernible as a form of control makes for ambiguity in each its use and interpretation and the modifications to the use of targets had unforeseen penalties. As we now have seen, call centre workers may be lower than willing to play along for quite so much of reasons: they might understand the needs of the game as inconsistent with their identity, they might discover them unnecessary and demeaning. On the opposite hand, they may find status and rewards in being excessive performers and resist efforts to vary the focus from gross sales to service, as occurred in Northern
Finserv. As famous, the regime of surveillance in our name centres was masked with parts of play, or video games and included a variety of carnivallike features similar to vibrant decoration, spontaneous laughter and joking, particularly in relation to the grotesque physique image. At Finserv, Christmas 2001 was the opportunity for the male managers to pose for a name centre calendar in the nude, or near nude. Particularly entertaining was the December image of a male manager playing ‘Santa’ at his desk wearing only boots and a hat with pom-pom.5 In enjoying the idiot, the traditional order and work leisure boundary is reversed and measured targets and organizational targets are given the gloss of aesthetic pleasure, in a quasi-party environment. The environment on the various call centres embody most of the parts of popular festive forms: video games and contests, a proliferation of vibrant symbols, authority figures enjoying the role of the ‘fool’, feasting, seasonal imagery and celebration, humour, dressing up, and so on. Such imagery has a long tradition in well-liked tradition: For hundreds of years [the people] have used these festive pictures to precise criticism, their deep mistrust of official fact, and their highest hopes and aspirations. Freedom was not so much an exterior right as it was the internal content of these images. It was the thousand year-old language of fearlessness, a language with no reservations and omissions, about the world and about power. (Bakhtin, 1965/1968, p. 269) Bakhtin (1965/1994, p. 195) argues that carnival offers a completely non-traditional extra-ecclesiastical, extra-political aspect to the world and human relations. It has a sensuous character and a powerful element of play. Carnival pictures resemble a sure aesthetic kind – the spectacle, satirical symbolic dissonance, or poking enjoyable at power. But the participants don’t view the carnival externally; in its folkloric form, they

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are a half of the fun. Carnival has its own time that’s outdoors of official time and is: [A] gap in the fabric of society and since the dominant ideology seeks to creator the social order as a unified text, mounted, complete and endlessly, carnival is a threat – a minimally ritualised hole, or gap in all of the mapping of the world laid out in systematic theologies, authorized codes
normative poetics and sophistication hierarchies. (Clark and Holquist, 1984, p. 300) Life, here is presented as a miniature play and attracts the gamers out of the bounds of on an everyday basis life and (gives the pretence of ) liberating them from the identical old legal guidelines and rules (Bakhtin, 1965/1968, p. 235). In the call centres, then, work is introduced as play and heroes and champions are winners in games of skill and dexterity. Seasons are celebrated with decorations. Masks and fancy gown are worn, managers can appear in the nude on calendars, thus reversing authoritative roles and enjoying the ‘fool’. Treats within the type of meals and alcoholic drinks, weekend holidays and trips to concert events are to be won. Boxes of ‘party fun’ are stored on high of steel cabinets for the next celebration, or marketing campaign. However, as has been argued, the carnival-like ambiance in name centres is manufactured by management rather than being a spontaneous backside up affair. This is to not say that the employees are resistant to the thrill and frivolity, which is unquestionably a welcome aid from the pressures of work. Nonetheless, they’re fully aware of the instrumental managerial goals mendacity behind and offering the justification for the aesthetic artefacts and party environment surrounding a number of the activity. The link between organizational aesthetics, energy and forms of resistance isn’t clear-cut. We found cases the place call centre staff interpreted the symbolic environment as asynchronous with the avowed corporate objectives and, due to this fact, not reliable. There had been examples of people who perceived adjustments within the symbolic surroundings as a direct threat to their identification. Due to the atypical work patterns experienced by CSAs, rewards for achievement have been typically seen as unfairly distributed and some refused to engage with the sport. Most widespread, however, was a response that objected to the self-discipline and controls underlying the obvious light-hearted character of the introduction of aesthetics into call centres. We detected, all through our research, a resistance that might be interpreted as a claim for an aesthetic of the self quite than one imposed on the culture by administration. Almost all the

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complaints from employees were about the way during which they felt unable to precise their individuality because administration insisted on conformity to set
requirements that it believed facilitated its control over the work process. Caring for the self and making one’s life into a work of art was Foucault’s (1985, 1988) political response to the individualizing and totalizing results of contemporary disciplinary regimes. It is without delay an acceptance of the individualized assets that we purchase from a lifetime of disciplinary pressures to carry out as individuals at home, in class, in sex, in sports activities, and at work and a resistance to the sort of subjugation of subjectivity that such regimes impose (Knights, 2002). Foucault (1980, 1986) saw modern regimes of power/knowledge as more and more having the effect of transforming individuals into topics that are turned in on themselves, self-regarding and, thereby, individualized. The constant and continuous processes of judging, measuring and grading particular person performance, it can be argued, renders topics extremely anxious, isolated and insecure and, subsequently, extremely susceptible to the presumed security of collective conformity. Becoming a member of a family, group, membership, group, party, organization, nation state, or some other collective provides some partial reduction and protection from the individualization and isolation that is the legacy of excessive judgmental power. But, collective attachments are often momentary, superficial and a smoke display for a narcissistic elevation of self over ‘other’, members over non-members and/or a comparatively stable car for securing id (Knights and Willmott, 1999). It is feasible to deploy the legacy of the Enlightenment, and the associated humanistic belief in self-development and self-improvement, towards itself. Not in the way in which that it has, by way of psychiatry, psychoanalysis and the caring professions, been a method of normalizing and reintegrating people into society, thus rendering topics docile (Knights, 2002). Rather, on the premise that resistance is handiest when it draws on knowledge and discourses which would possibly be already broadly accepted, it is potential to turn in on the individualized sense of subjectivity the more to disrupt its subjectively self-disciplining effects in social conformity. This is what we believe that Foucault implies when he speaks of the makes use of the individualized concentrate on subjectivity to make of the ‘self’ an aesthetic project – ‘to relate the kind of relationship one has to oneself to a creative activity’ (Foucault, 1984, p. 351). By analogy with the artist in his/her garret, turning the self into a creative murals would clearly disrupt those results of individualization that ordinarily
render subjects isolated, preoccupied with id and weak to the disciplinary calls for of power. Ethics are adopted that are contingent to

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the localized circumstances of their software and a change of the individualized to a subjectivized subjectivity – that is, one created by and responsible to the self. In detaching ‘truth’ from id, the unproblematic relationship that power assumes over subjectivity and reality is disrupted. In different phrases, the effects of power/knowledge regimes to provide specific (individualized) subjectivities and ‘truths’, as a part of what it’s to secure the self in social relations, can now not be taken without any consideration. In our case research, the proliferation of aesthetic artefacts, denying workers an aesthetic self, undermined many of the efforts that administration made to soften the workplace environment.

Conclusion
In this chapter we’ve sought to convey collectively arguments on the place of aesthetics in organizations with analysis of power and resistance. Through using case examine materials, the paper has focused upon the use of aesthetic artefacts around performance targets and games designed to improve output. Northern Finserv and Commsco had piloted very comparable customer care programmes during the course of this research however they approached the issue of carrying the workforces with them in very other ways. In Commsco, the trial was offered to the workforce by way of the use of aesthetic artefacts, virtually to saturation level. Like Commsco, Northern Finserv also used aesthetic artefacts to facilitate appropriate procedures within the supply of good service. But, in contrast to Commsco, in Northern Finserv using graphs, efficiency tables, and different artefacts on team notice boards to stimulate competition was significantly reduced in favour of a prioritizing of Customer Service. In both organizations, surveillance had been vastly increased and figures on the correct use of the structured name had been highlighted. Aiming to generate more sales and ordering, our third group – Big Book telemarketing – was getting into a totally totally different course. Here a customer support focus was being reconfigured to be more
gross sales centered, with elevated use of incentives. Some team leaders were uneasy as to the ethics of the ‘hard sell’ and the fairness of splitting off staff members who would achieve extra benefits. We have demonstrated the anomaly of the messages carried by artefacts that seek to camouflage the heavy-duty management and pressure of work by associating it with such non-work actions as events, video games and even the carnival. The relationship between targets and video games is advanced, so pursuing incentives, or profitable game-like competitions, might or might not lead to a compliance with the organization’s targets. Management may

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present the organization’s targets in ways which might be inconsistent with the meanings attached to them by individual workers. This contributes to a lack of legitimacy for the organization and its administration for people could seek to define themselves in an aesthetic means that is incompatible with the demand for rigid conformity to standardized procedures that they see as a sort of ‘MacDonaldization’ (Ritzer, 1997) of call centre work. Thus at Northern Finserv, individuals in onerous promoting groups resisted the change led to by the client care trial that threatened their status and earnings. At Commsco, by contrast, workers secured their aesthetic notion of the self by the exercise of formal and casual skills in interacting with customers (Strati, 1999). It isn’t that they are enjoying a recreation that’s totally completely different from the sport of ‘truth’ in their office, however they might be playing the game differently (Foucault, 1994). Much of the resistance was to work intensification, but especially to the demands on workers to conform to standardized practices and what staff felt had been stereotyped pictures of themselves. It isn’t clear that the aesthetic artefacts and video games deflected this resistance although counterfactually, it is impossible to know what might have occurred in the absence of management’s attempts to soften the controls by way of such means. In our dialogue section, we advised some tentative ways of analysing the resistance of staff when it comes to an aesthetic of the self. This is impressed but doesn’t follow actually Foucault’s later work on ethics. But, in recognizing the individualizing results of modern energy regimes, it may be argued that any
radical transformation in society has to embrace the self without reinforcing the individualism that different discourses are inclined to breed. To avoid any cost that Foucault merely performs into the arms of an ideology of individualism, he indicates that social relations are intensified quite than undermined by a give consideration to the self. As he places it: ‘The care of the self – or the eye one devotes to the care that others should take of themselves – appears then as an intensification of social relations’ (Foucault, 1986, p. 53). In presenting this analysis materials, we find ourselves disagreeing with those that seek to promote an aesthetic approach to the study of organizations to be able to undermine the domination of rational analytical views on organizations. In our view, whereas an aesthetic method may provide examples where linear logic or financial rationality don’t all the time dominate emotional, ethical or aesthetic issues and practices in organizations, it’s going to itself stay a rational enterprise. Nor, moreover, is the mere existence or recognition of aesthetic, ethical or emotional actions and artefacts in organizations a guarantee that linear logic and financial rationality shall be eclipsed.

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What are the implications of this analysis of aesthetics for the examine of name centres and maybe service employment extra generally? We consider that call centre work is prone to increase as organizations, whether in manufacturing or companies, seek more and more direct and quick ways of speaking with their clients at decrease prices than is possible by way of physical, head to head contact. This impetus to take out prices from service and product supply techniques, of course, is what reinforces the picture and the reality of call centres as oppressive workplaces where work-intensification is supported by excessive levels of technological surveillance, time-measured self-discipline and efficiency management. Mediating this by aesthetic paraphernalia doesn’t, from this research, appear to lessen the opposition to the managerial designs which have the effect of reducing the self to a robotic picture of its own potential. Indeed it most likely weakens the goodwill and customer dedication that our analysis and surveys confirm call centre staff exhibit. The demand of name centre employees appears to be for
the liberty to make of their work with customers something that could be called an aesthetic project of the self. Whether management is sufficiently sophisticated and safe to loosen up control is another question, however such a method could presumably be a non-zero sum game.

Notes
1. Customer care programmes have a popular outcrop from the Quality movement (e.g. Quality Circles; Quality Control; TQM) that impressed new managerial interventions within the Eighties and Nineteen Nineties (for a critical evaluation see Wilkinson and Willmott, 1995). Making positive the shopper secured a passable service was seen as a method of creating aggressive benefit that, in contrast to new expertise or product differentiation, couldn’t easily be imitated. 2. Obtaining accurate figures for staffing ranges in the name centres proved tough since short-term staff may be taken on to cover seasonal differences, the balance between company, momentary employees and everlasting workers changes according to demand, collective bargaining and the notoriously excessive degree of staff turnover in this sector of employment. Companies are more doubtless to offer numbers of ‘seats’ as a measure of the size of the decision centre. three. This is paraphrasing Fox and Flanders’ (1969) managerial argument that managers need to share energy to be able to regain it. 4. In this section we solely discuss two of our case studies because in the case of Northern Finserv workers did not resist the proliferation of controls so much as a revision of the inducement system that reduced their alternatives to make sales and hence affected their earnings negatively. In this sense they wanted to retain the incentivized status quo whereas in the other two cases, workers were insulted by the necessity to incentivize. 5. We had been unable to acquire permission to use this photograph.

7
The Power of Organizational Song: An Organizational Discourse and Aesthetic Expression of Organizational Culture Nick Nissley, Steven S. Taylor and Orville Butler

Overview
In this chapter, the authors examine organizational songs, referring to songs
that are created and sung by members of a corporation as an aesthetic expression of organizational culture. Specifically, the research examines the organizational songs of the Maytag Company (USA-based manufacturer of house appliances) sales group, and is historically situated through the invention and improvement of the washer technology (the early 1900s). The research considers organizational songs as a relatively unexamined type of organizational discourse. More critically, the research considers organizational songs as an organizational discourse and aesthetic expression of organizational culture – with ‘power to’ form the id and actions of the Maytag gross sales organization, in addition to ‘power over’ consumer and employee behaviour.

Introduction: framing organizational song as a form of organizational discourse Grant, Keenoy, and Oswick (1998) assert that group ‘is articulated by and through the deployment of discursive resources’ (p. 12). With the emergence of social semiotics and postmodern semiotics, it has been argued that the definition of ‘text’ could be broadened even additional, to include cultural artifacts similar to artwork, structure, and music (Hodge and Kress, 1988; Kress and Leeuwen, 1990; Gottdiener, 1995). We assert that organizational songs, just like novels (e.g. Czarniawska-Joerges and 93

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Guillet de Monthoux, 1994; Brawer, 1998), poetry (e.g. Windle, 1994) and performs (e.g. Taylor, 2000) can be thought of as a type of organizational discourse. Also, Barry and Elmes (1997) assert that while a lot of organizational discourse ends up as some form of print, that which is communicated verbally is often ignored. We would lengthen this assertion, to say, that the verbal – sung – discourse is almost ignored in organizational research, aside from the emerging works that discover the organization–music relationship (e.g. Clegg, 2000; Nissley, 2002). To better perceive this unique form of organizational discourse, we flip to the organizational aesthetics literature. First, we assert that the textual content of organizational track is rich with social that means and could be analyzed when it comes to what it reveals about a social context (e.g. the organizing of the
invention and improvement of the washer throughout the Maytag Company). This concept is most evident when one considers the lyrics of organizational songs that readily categorical recollections, histories, feelings, and ideologies – thus, making organizational discourse principle acceptable as a method for evaluation. However, as Mattern (1998) points out, ‘music supplies a communicative medium that’s not merely an alternate method to say the identical things that humans say by way of speech. Music, like other artwork types, can categorical meanings that are not accessible through words or specific them in ways in which give listeners extra quick access to emotions’ (p. 17). Similarly, Booth (1976, p. 242) asserts, ‘The words that go along with music in songs reside a life completely different from that of words written down for printed poetry’. Booth means that music lyrics are an oral artwork, thus making organizational aesthetics the most appropriate place from which to analyse what the organizational songs inform us concerning the social organization. Strati (1996) describes the historical past of aesthetic epistemology and the event of organizational aesthetics, noting that the German philosopher, Alexander Gottlieb Baumgarten developed the sphere of inquiry we discuss with as aesthetics, in the course of the mid-18th century, in response to the emphasis on rationality and mental data extending again to Descartes. Strati (1996, p. 216) notes: Baumgarten conceived of aesthetics as one of many two parts of the theory of knowledge or gnoseology: on the one hand, logic, which investigates intellectual information; on the other, aesthetics, as both the idea of the attractive and of the arts, which investigate sense knowledge.

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Strati (1999) develops this idea of aesthetic epistemology inside the organizational research framework. According to Strati, aesthetics in organizational life ‘concerns a type of human data; and particularly the knowledge yielded by the perceptive faculties’ (p. 2). Strati argues ‘that it’s possible to gain aesthetic, quite than logico-rational, understanding of organizational life’ (p. 7). More specifically, Strati
(1992, p. 575) describes aesthetic discourse, and similarly Gagliardi (1996, p. 574) describes aesthetic communication. Nissley (2002) specifically considers organizational music as a form of aesthetic discourse/ aesthetic communication. Thus, in accordance with Grant, Keenoy, and Oswick (1998), who assert that organization ‘is articulated by and thru the deployment of discursive resources’ (p. 12), we assert that organizational music – if understood as a type of organizational discourse – might inform the inquiry of the organizational researcher. In this research we begin by merely in search of to examine what the organizational songs of the Maytag Company could inform us about that group – to reply, what’s articulated by and thru this unique type of discursive useful resource.

Research strategies: making sense of Maytag’s songs
This is a descriptive study – an exploration of organizational songs – of songs which are created by members of an organization as an expression of organizational culture. In this analysis we seek to look at what the organizational songs of the Maytag Company could inform us about that group – to reply, what is articulated by and thru this distinctive type of discursive resource. Methodologically, the examine can be described as an ‘archaeological approach’ (Strati, 1999, p. 189) – the investigation of ‘fragments of organizational life’ (organizational artifacts) and of the organizational cultures which have generated these fragments of organizational discourse. Specifically, this research examines the organizational songs of the Maytag Company (USA-based producer of family appliances), and is traditionally located through the invention and development of the washing machine technology (the early 1900s). Due to the historical nature of the research and the inherent limitations, we do not declare to have listened to all the songs ever created. However, the analysis considers what’s believed to be probably the most full recording of Maytag songs,1 relationship from the first half of the twentieth century. In addition, major documents (e.g. firm newsletters corresponding to Profit News and Maytag News) are examined.

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Butler (1997) parenthetically notes that turn of the century house appliance promoting was rich with reflexive commentary. For instance, Automatic Electric Washing Machine Company’s advertising slogan, ‘ten o’clock and the washing is done’, whereas showing to promise housewives fast reduction to washday blues, really reflected the truth that banker/founder of the firm, O. B. Woodrow, no longer needed to depart the financial institution at 10 o’clock on Mondays to crank his family’s hand powered washing machine. We shall begin by uncritically telling the story of the organizational songs, inviting you, the reader, to make your individual sense of it as you learn; then, we present our analysis.

The historical context: the organizational songs of the Maytag Company The Maytag Company began in 1893 as Parsons Band Cutter and SelfFeeder Company. By 1900 it was one of many main manufacturers of a dying product. Maytag and his companions expanded into other farm implements introducing a small hand powered washing machine in 1907 to extend its manufacturing facility season in the farming community of Newton, Iowa. But washing machines remained a sideline operation. Not until 1915 did washer revenues equal farm implement revenues. However, by 1923 Maytag had deserted the farm implement business. Maytag was not the primary Newton factory to manufacture washing machines. Nor was it the most important washer producer in Newton prior to the introduction of its aluminum tub gyrator washer within the early 1920s. One Minute Washing Machine Company peaked its production in 1911, manufacturing some forty thousand washing machines that yr. At the end of the First World War, each the One Minute and the Automatic Electric Washing Machine Company manufactured extra washing machines than did Maytag. Several different firms in Newton and the encircling communities manufactured smaller numbers of washing machines – some as sidelines to different seasonal businesses.2 Yet Maytag needed to transform its enterprise and advertising plan for the ‘gyrafoam’ washer to succeed. When Maytag distributors demonstrated their first ‘Model 80’ washers, washing clothes as that they had always washed them, the clothes came out badly torn. F. L. Maytag, the firm’s founder, and Howard Snyder, the firms design skilled, rushed to Minneapolis to counter competitors’ claims that the model new machine was an ‘ensilage cutter’ and ‘spaghetti machine’.3 It shortly turned clear that if Maytag were to succeed with their
new washer they would have to depend upon direct sales and demonstrations to the consumer.4

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The Twenties were a interval of progress for Newton’s main washer producers, however Maytag, after the 1922 introduction of their aluminum ‘Model 80’ washer, outstripped its opponents. While business sales improved by 68 per cent in 1922, Maytag’s improved by 361 per cent.5 Maytag would double in measurement yearly between 1922 and 1927. Maytag struggled to maintain control of its innovative know-how, however not until 1931 was it granted essential patents on its ‘gyrafoam’ washer.6 By 1925 lots of its rivals both in Newton and all through the USA were adopting comparable washing machine applied sciences.7 Maytag elevated its advertising price range in the fall of 1924 to counter inroads made by opponents into the agitator washer market and sought new means to encourage its gross sales force. New advertising included sponsorship of the ‘Maytag Troubadours’ who composed and sang songs such as ‘The Aluminum Blues’, ‘The Rack Bar Rag’, ‘The Wringer Rings’, and ‘The Gyrafoam Waltz’ on the model new Des Moines radio station WHO.8 At the following annual gross sales assembly, in January 1925, songs were introduced as a motivational software for Maytag’s gross sales pressure. Maytag started the assembly dealing with a quantity of issues. The firm had just completed paying off its debts incurred through the First World War, in developing the aluminum washer and had established a $1.5 million dollar recapitalization program. Maytag was king of the washing machine business, however king in a capital neighborhood. Iowa produced 60 per cent of washing machines manufactured within the USA in 1924. Maytag produced about 20 per cent of the nations washing machines, Newton’s remaining three vegetation produced about another 25 per cent, and the remainder of Iowa produced one other 15 per cent of the nation’s washing machines. National rivals like General Electric, had between a 10–20 per cent decline in enterprise the previous year, whereas the 4 Newton corporations, Maytag, Automatic Electric, One Minute, and Woodrow, all had substantial increases. Maytag’s critical competition lay simply throughout the
avenue, and the annual gross sales conventions, complete with slogans and special entertainment turned a mechanism not just for boosting enthusiasm among the gross sales drive, but for intimidating the competitors. Maytag had lengthy held sales conventions for its branch managers, increasing them to incorporate the newly developed sales pressure in 1923. Maytag’s gross sales conventions would usually follow the week after the a lot smaller gross sales conventions of Automatic Electric, One Minute and Woodrow. The conventions were lavish affairs. Entertainment alone for the 1924 conference, hosting 200 salesmen, price $20,000.9 The typical convention would include a number of sales conferences, evening motion pictures or

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live entertainment culminating in a gross sales banquet the last night time of the convention. Each firm would try to out do their native competitors’ convention. Maytag would start 1925 dealing with issues widespread to many profitable corporations. They had simply redesigned their ‘Model 80’ washer to get rid of leaks through the agitator mechanism – an issue which had enabled opponents to start out slicing into Maytag’s agitator washer market. Numerous opponents have been contesting Maytag’s gyrator patent software and probably infringing machines had been launched to the market. While Maytag and its three Newton-based competitors continued to increase sales, different nationwide corporations had gross sales declines the earlier year.10 By June of the previous year, Newton’s three largest companies, Maytag, Automatic and One Minute manufactured forty seven per cent of America’s washing machines. Both Automatic and One Minute had introduced new washer traces. Maytag was profitable but faced new and increasingly viable competition. It had considerably elevated its newspaper promoting to counter the rising competition. At its annual conference held on 8–10 January 1925, Maytag turned to songs to help inspire its gross sales drive. On 9 January Newton Rotary Club appeared at a sales convention assembly, marching in singing ‘My Maytag Gyrafoam’ to the tune of ‘My Irish Rose’. The subsequent night time salesmen from the assorted divisions spread enthusiasm at the banquet held in Des Moines’ Savery lodge by singing parodies of popular songs. ‘How do you do, Mr Maytag’, ‘Good Ol’ Maytag’ and ‘Yes, We Have No Excuses’ turned the
requirements of the night.eleven Sales conventions shortly became greater than an annual affair. In 1926 Paul Scott, supervisor of Maytag’s Eastern Branch gross sales force, held a sequence of ‘It’s a Great Gang that Sells the Maytag’ banquets where Maytag songs grew to become the order of the day.12 Other branches would reward top salesmen with journeys to the Maytag manufacturing unit for a branch convention. Again, specializing in songs to whip up enthusiasm for both the branch and the corporate. Even the Lockhardt–Walker evangelistic services joined in. On ‘Maytag Night’ Maytag staff and their families can be invited to sit down in reserved seats and the singing evangelist led the congregation in singing: Maytag, Maytag, Maytag Cleanest Name I Know. Maytag, Maytag, Maytag Washes Clothes as White as Snow.13

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In Newton the local band would pipe trainload shipments of Maytag washers out of city to the tunes ‘That’s Where the Tall Corn Grows’ and ‘The Gang’s All Here’.14 On 12 July 1927, Maytag factory staff dressed in white, and wearing Maytag fezzes, assembled at the factory earlier than marching to the neighborhood picnic grounds – singing Maytag songs. This picnic celebrated the founder’s seventieth birthday, 14 July 1927, and saw the publication of the primary Maytag songbook.15 This initial songbook, included songs not only selling the gross sales of Maytag washer, but additionally songs to shape the goals of younger shoppers. As Maytag songbooks became a common script at sales meetings, Maytag expanded the utilization of music to form the tradition of the sales organization. In the fall of 1927, Automatic Washer Company, taking its clue from the sooner Maytag Troubadors, started sponsoring the Apollo Quartet singing beneath the name ‘Automatic Agitators’ over WHO radio.sixteen Within a 12 months, the Apollo Quartet was singing at Maytag sales conferences.17 In November 1927 Maytag take a look at marketed a radio programme over Chicago’s WHT.18 The programme was expanded the following month to 6 clear channel stations across the United States. A trio from the Chicago Philharmonic grew to become the ‘Maytag Ramblers’ and the 1927 ‘most well-liked disk jockey’ Pat Barnes, of WHT served as master of ceremonies.19 The network would eventually increase to 50
stations. Drawing on leading radio personalities and performers, the show’s theme music turned ‘Let a Smile be Your Umbrella and a Maytag Your Washer’20 as Maytag spent practically $450,000 on its radio budget. Maytag developed a programme of specially written dramas, utilizing in style tunes performed by such bands as Ted Fiorito and his Edgewater Hotel Orchestra, Coon-Sanders and the Original Kansas City Nighthawks, Fred Hamm and his Recording Orchestra, Art Kassel and his Castles within the Air Orchestra, and Dan Russo’s Oriole Orchestra. The half-hour lengthy ‘Maytag Radio Hour’ would expand and undergo several transformations before it closed in 1932.21 For a brief period it broadcast stories about salesmen or others who solved a household or life disaster incessantly with the utilization of a Maytag washer or with salesmen qualities that made them uniquely Maytag.22 By 1930 the ‘Maytag Happiness Hour’ was delivered weekly over NBC’s blue community. While Ted Fiorito initially conducted the Maytag Orchestra,23 in an effort to chop prices the show was regularly reorganized, not permitting for a stable conductor. In 1930 Maytag minimize it’s radio budget by 25 per cent and the rising despair forced further cuts.24 By 1932, the well-known performers were

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gone, the Maytag Orchestra had gone via four directors,25 and the ‘Maytag Happiness Hour’ played light music. The theme music ‘Let me Call You Sweetheart’ now not made a direct connection to Maytag.26 Maytag songbooks, however, continued to produce evangelistic fervour at Maytag sales conferences. In the Thirties Maytag gross sales organizations rewarded salesmen for songs extolling their performance.27 Maytag songbooks in numerous editions had been offered to dealers and salesmen for two.5 cents a duplicate till the beginning of the Second World War. Maytag’s sales organization was shut down for the period of the struggle because the company’s crops manufactured airplane components and different navy gear. But Maytag remained a part of music lore. During the warfare, small Piper Cub plane had been used to identify enemy gunfire and report vary information to allied guns below. Known because the Grasshopper Artillery, their battle hymn chorus concluded: So we’ll give the Axis fits With our Maytag Messerschmitts We’re the Grasshopper Artillery.28 After the warfare one new version of the Maytag Song e-book incorporated new songs about Maytag’s
expanded line of ovens, freezers and refrigerators. But occasions had changed. Maytag found it difficult to recruit doorto-door salesmen and the sellers’ marketplace for much of the remainder of the Forties made them pointless. Sales returned to the showroom ground and the workforce of Maytag trained and paid salesmen declined. Store salesmen bought more than Maytag merchandise. Maytag promoting developed new strategies for attracting customers to its products. The Maytag songbooks of the Twenties and Thirties performed a powerful position in uniting and motivating a gross sales pressure, unparalleled within the house equipment industry. Through music, they realized the options of their product line and the methods that enabled them to sell it. Salesmen also developed camaraderie, amongst one another and with their prospects who heard Maytag songs over the radio. Even when the decline of Maytag’s ‘Happiness Hour’ resulted in ‘Let Me Call You Sweetheart’ for the show’s theme track, every salesman undoubtedly heard, the next, instead of the normal phrases: Let me have a Maytag For I love you true, Let me have a Maytag Then I’ll wash for you

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If you buy that Maytag I will love you so, Let me hear you whisper I purchased it for you. Maytag songs defined for the salesmen, their function within the company, their relationship to the customer and their product’s position in society. It formed the organizational culture and the identification of the Maytag gross sales group – extending from the factory to the salesperson to the consumer – it sure them to the Maytag product and to one another. After contemplating these organizational songs from the Maytag Company, we assert that Mangham (1986) is correct to point out that ‘organizations are created, sustained, and altered via talk’ (p. 82) – or, extra specifically, via track. But, where there’s light, there’s additionally shadow, so we now turn to a extra important evaluation of organizational music at Maytag.

A extra critical examination of the utilization of organizational song as organizational discourse and an aesthetic expression of organizational
culture While the organizational research literature is expanding, to include novels (e.g. Brawer, 1998; Czarniawska-Joerges and Guillet de Monthoux, 1994), poetry (e.g. Windle, 1994) and plays (e.g. Taylor, 2000) as types of organizational discourse, group and management theorists have made few contributions (e.g. Clegg, 2000; Sicca, 2000; Nissley, 2002) to the literature of music and organizations, except for the intense interest within the relationship of jazz to organizational studies (e.g. Bastien and Hostagier, 1988, 1992; Weick, 1990; Perry, 1991; Hatch, 1997b, 1998, 1999; Organization Science, 1998; Barrett, 2000). Also, while critical views on music have been undertaken (e.g. Conrad, 1988; Mondak, 1988; Cary, 1990; Lewis, 1991), a extra specific, important management research reading of organizational song remains to be unexplored within the organizational research and organizational aesthetics literature. Similar to Barker’s (1999) research, our story of the Maytag Company gross sales organization’s use of songs has a rhetorical character and a important character. By rhetorical, we imply targeted on how the Maytag group ‘used’ discourse – particularly, the aesthetic discourse of organizational music, to do things as a company – especially, to create shared which means among the many gross sales organization, or in other phrases to sing their culture and sense of id. In this section we additionally turn to what Barker (1999) refers to as the important character. Barker describes the critical

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character as an ‘analysis of how patterns of discourse or language use create oppressive or overly constrained methods in organizations’ (p. 23). Thus, we consider using organizational song at Maytag via the lens of important management research. By applying the crucial administration research lens to our ‘archaeological approach’ – we contemplate a method the Maytag organization ‘used’ the organizational songs as an organizational discourse. Here we are going to describe how the power of organizational song – as an organizational discourse – was used to form the Maytag Company gross sales group. We use the metaphor of ‘acting in concert’ to explain this power-ful discourse – the power of organizational song to shape the tradition, identification, and picture of the Maytag sales organization. Mattern (1998, p. 32)
describes music in relation to power, differentiating ‘power over’ and ‘power to’, referring to a way of power as domination, on the one hand, and energy as a optimistic capacity then again (e.g. energy over the patron, versus energy to develop a group of salesmen). First, we will contemplate the Maytag company’s organizational songs as a discourse with ‘power to’ develop a community of salesmen. Second, we may even contemplate these songs as a discourse with ‘power over’ the salesmen and consumers.

Acting in live performance: organizational music and the ‘power to’ John Dewey (1934, p. 81) wrote: Works of art that are not distant from widespread life, that are widely enjoyed in a community, are indicators of a unified collective life. But, they’re additionally marvelous aids in the creation of such a life. The remaking of the fabric of expertise in the act of expression is not an isolated event confined to the artist and to a person right here and there who occurs to benefit from the work. In the degree by which artwork exercises its office, additionally it is a remaking of the expertise of the community within the course of larger order and unity. Like Dewey, we assert that organizational track can act as both, a ‘sign of community’ and as an ‘aid within the creation of group.’ As an indication, organizational song reveals an aesthetic discourse that explains the culture of the group. As an help within the creation of community, organizational song acts as a form of communication through which the commonalities of community are created and found. Thus, the communicative capacity of organizational music helps the development of organizational tradition by enabling and shaping the sharing of experience.

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One reading, a extra functionalist reading, reveals the organizational songs as an expressive strategy (Gagliardi, 1986) – a means of making shared which means among the many Maytag organization. Certainly F. L. Maytag, the company’s founder, additionally strategically expressed the values described in these songs. Consider, in a 1928 article within the Maytag Profit News,29 he asserted that the primary rule he developed in his business life ‘was to maintain on regardless,
even blindly when some particular discouragement was hanging over me’. He continued, ‘Many discouraging conditions wanted just one thing to make them end up proper – work, and because of this many problems disappeared earlier than work like mist earlier than the morning sun.’ However, a critical management studies perspective provides another reading of the songs. Salesman and employees, not administration and its brokers, in the principle, composed the subject Maytag songs. From this perspective, crucial administration research reveals the songs as a type of cultural pedagogy and cultural hegemony (Lears, 1985), or as Altman (1990) states, a discursive constitution of ideology. Similarly, to Altman’s concept of the discursive constitution of ideology, Mattern (1998) uses the phrase ‘acting in concert’ as a metaphor for community-based political action through music. He describes ‘acting in concert’ as taking three primary types – each representing a distinctly different kind of community-based political motion by way of music. The type which he labels as ‘pragmatic’ (p. 30) describes how the Maytag sales organization used organizational songs. According to Mattern (1998, p. 30), the pragmatic form of appearing in concert ‘occurs when members of a number of communities use music to promote awareness of shared interests’. We borrow this metaphor to explain how organizational music, functioning as a type of aesthetic discourse, could have acted as a way of organizing and controlling organizational actions – particularly, the development of organizational id (the identification of the Maytag gross sales organization), the organizational tradition of the gross sales organization, and the actions of these workers. It seems that organizational song served as a document of a group, by capturing the human expertise of the salesmen and rendering it meaningful in the context of the Maytag Company, ‘creating a window into the id of a community’ (Mattern, 1998, p. 18). One may contemplate the songs as a sort of organizational autobiography (Czarniawska-Joerges, 1996). Consider the next examples that offer a window into the identification of the Maytag sales group: It’s a fantastic gang that sells the Maytag, It’s a fantastic gang to know;

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They are full of pep and ginger, And their watchword is ‘Let’s Go!’ Always on
the level Always honest and square, It’s an excellent old gang that sells the Maytag, And my heart’s proper there!30 This discourse is a really simple expression of a set of espoused values – asserting that the Maytag salesman is energetic and honest. We hear comparable values about ‘working hard’ expressed in the following song: Gone are the times, after I laid in mattress until 9, Gone are the days, after I wasted hours so fantastic, Gone and fore aye, for I wakened with a jerk, I heard the prospect loudly calling; Work, work, work.31 Also, contemplate the next music, sung to the tune of ‘Carolina in the Morning’. Similarly, this track speaks to the values of the sales tradition – the importance of ‘making the sale’ (‘get an order signer’): Nothing may be finer than to be a real headliner, with the Maytag. Each day I take a flyer and my gross sales go climbing higher, with the Maytag. I meet the smiling ladies as I method the door I call back once more some night and bask in their smiles as quickly as more, Oh! popper, I can’t stop ‘er, she is cleaning garments proper, with the Maytag. She’s going to sing extra sweetly as she does here washing weekly, with the Maytag. If I get a chicken’s wishbone any old day, I’ll make a want, and here’s what I’ll say: Nothing might be finer, than to be an actual headliner, with the Maytag Nothing could probably be finer than to get an order signer each morning. Nothing could possibly be sweeter than a prospect whenever you meet her in the morning.

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When the Monday’s washing has her good and sore And she is almost weeping, I pound upon the door. Strolling in to demonstrate a good old ‘Maytag’ washer, in the morning. Start the motor humming and a smile will soon be coming within the morning. When she sees it wash the garments she can’t help but say: ‘I’ll take that “Maytag,” what should I pay?’ Nothing could possibly be finer than to get an order signer each morning.32 Certainly a important view should embrace some consideration of the context. These songs had been from the 1920s – a decade of unimaginable prosperity and economic growth in the US. However, it was additionally a decade of in a single day paper millionaires – created in the bull stock market that preceded the stock market collapse of 1929 and the Great Depression.
Mattern (1998, p. 31) asserts that acting in live performance may ‘occur in many various social settings and conditions, together with social spaces traditionally seen as political, similar to city halls and party headquarters on election night time; but they may additionally embrace much less conventional types of political arenas … In quick, performing in concert can happen wherever music is produced and consumed’. Thus, our analysis reveals the business organization as one more such social area. In the Maytag Company, organizational songs had been recorded in track books, sung at sales meetings/conventions, and sung on radio exhibits by groups like the ‘Maytag Troubadors’, ‘Automatic Agitators’, ‘Maytag Orchestra’, and the ‘Maytag Ramblers’. Mattern (1998, p. 19) notes that as an viewers listens to music (like the Maytag sales organization audience), ‘they might start to internalize some of its meaning, and it turns into part of their identity’. He continues, ‘By expressing widespread experiences’, music helps create and solidify a fund of shared memories and a way of ‘who we are’. These organizational songs appear to have created a way of ‘who we are’ for the Maytag Company gross sales organization. Barker (1999) uses the language of ‘concertive control’ when discussing self-managing groups and the way ‘a self-managing system creates an surroundings that controls worker exercise in ways quite totally different from the bureaucratic (hierarchical, rules-based) forms of management found in traditional organizational structures’ (p. 3). We recommend that these organizational songs may be thought of as an earlier type of the selfmanaging expertise of concertive control present in modern

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management. That is to say, singing these songs embodied the construction of culture and identity that salesmen had created for themselves, reminding them of guidelines of behaviour that went with that culture and identity. There is a particular energy in organizational songs as a end result of songs are pleasant. Enjoyment produces two results. The first is engagement. The extra we benefit from the music, the extra we’re drawn into the second and the more the aesthetic expertise dominates the instrumental concerns of the moment. As the aesthetic expertise dominates the individual’s crucial functions and filters turn out to be less lively, the felt that means of the story is allowed to be
accepted uncritically and unquestioned. The second effect is repetition. A track that is enjoyed for its personal sake is extra memorable and gets repeated (Taylor, Fisher and Dufresne, 2002). Barker (1999) explains control in relation to organizational culture, using the concept of ‘generative discipline,’ referring to ‘the mechanism through which an organization’s discursive formations and system of control … turn out to be manifest in actual day-to-day organizational activity’ (p. 42). He continues, describing generative discipline as a ‘method for “teaching” us how to do good work in the organization’ (p. 45). We found organizational track acting in such a means – a ‘rough draft’ methodology for tips on how to live in the organization (Barker, 1999, p. 47) – a type of cultural pedagogy and cultural hegemony (Lears, 1985). Consider this song about persistence: When things are wanting blue And your volume’s slipping too, Turn new door-knobs. If your profit reveals in pink, There’s no have to lose your head; Turn new door-knobs. Selling knows no regular season. Look around and discover the reason. Turn new door-knobs. If you find you’re in a rut, Getting lifeless as old King Tut, Turn new door-knobs.33 This music tells a simple lesson about the way to do good work within the Maytag organization, and that is to by no means hand over – simply maintain making gross sales calls. There isn’t any room for failure, simply hold attempting. The following piece is even clearer concerning the cultural expectations for a Maytag salesman.

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This jumble of words is very plain, yet you’ll discover them true, And they don’t apply to anyone else, anymore than me and also you, Your life is what you make it, you can be your personal Devil or God, Remember as you undergo life, you fashion the paths you trod, You can build yourself to the highest peaks or drag yourself down, Your name could be sung as a person amongst men otherwise you can be a clown, If different fellows get out and make good, then you can do the same, Keep in your toes and do your stuff, it’s all in taking part in the game, Always be one of many pushers and don’t let your feet ever drag, For nothing goes but builders, in the gang that sells the MAYTAG.34 This track clearly communicates, there is not any room for dreamers, for failures of any kind – only
success via onerous work is appropriate. If we take critically the idea that songs created and strengthened cultural hegemony, we’d then turn to the query, why did the songs fade away? The story we advised instructed that after the Second World War, it was tough to search out salesmen and Maytag shifted to selling via retail stores. The implication is that the songs were only tied to the direct gross sales drive tradition and never linked to any broader Maytag culture. A more crucial studying may be the speculation that the songs stopped working as method of creating and imposing cultural hegemony. We have no knowledge that gives any insight into this query, but we do have a attainable story that is primarily based on our ideas of how songs work as a type of aesthetic discourse. We counsel that the post-Second World War workforce might have turn into refined shoppers of organizational songs. Eco (1990) describes naïve customers of aesthetic varieties as being carried alongside by the music, unaware of what’s taking place. Sophisticated audiences are carried along as well, however are aware of the approach and methods used in addition to being aware that the music is carrying them alongside. This sophisticated shopper can then be crucial of the song whereas they get pleasure from it. This addition of criticality strikes directly on the power of songs

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we described above. It reengages the mental, critical filters and brings the nature of the song into question. Workers did not have to see the songs as a form of cultural hegemony, it might have been enough to easily see the blatant idealism of the songs and the contrast with the world they knew from their expertise of the Second World War. We counsel that one method or the other the experience of the Second World War, both for individuals and for the nation, could have transformed workers from naïve consumers of organizational songs to more subtle consumers, and which might be part of why the songs faded from use in Maytag. Next, we shift our focus from the sales group to the customer of the Maytag washing machine (from identity improvement of the gross sales group, to picture growth of the Maytag Company and its products), considering the relationship between the Maytag product, the patron, and the organizational music.

Composing a shopper tradition: organizational music and the ‘power over’ Let us now turn to the opposite use of the Maytag songs, as sales tools with power over the customers. Consider this sales music that was sung to a popular tune of the time: Maytag Smile35 [Sung to tune of ‘Pack Up Your Troubles’] Put out your washing with the brand new Maytag And Smile, Smile, Smile While you would possibly be working with the New Maytag Smile boys that’s the fashion What’s the usage of worrying Never was price whereas So put out your washing with the New Maytag and Smile, Smile, Smile. The message is simple and clear – buy a Maytag and you’ll be smiling. It takes solely the only of critical readings to see the track as pure propaganda (e.g. Altman, 1990, p. 287), and it’s onerous to imagine the song having any great impact on a potential customer. That is, there could be no effect if we assume a strategy of rational reasoning. However, aesthetic forms bypass rational reasoning processes, relying directly on felt that means. The strength of the song is enhanced by enjoying on any constructive felt which means already associated with the unique music ‘Pack up Your

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Troubles’. As a contemporary instance, consider English football followers singing their group music. The feeling from tens of hundreds of Liverpool followers singing ‘You’ll Never Walk Alone’, can not be ignored, although the lyrics hardly make a compelling rational case. Maytag clearly designed its Monday night time ‘Maytag Radio Hour’ to influence consumers. ‘The Maytag Radio Hour’, the Company informed its sellers and salesmen, ‘is more than mere leisure; it is a nicely designed commercial that retains pounding away on the old theme, “A Maytag is the Washer for You to Buy” ’. In its musical alternatives, the Company asserted, ‘we try to make love to the housewives of America. We play delicate soothing music and sing love songs to take her again to her happiest days, days of courtship, carefree and bright’.36 Many of Maytag’s songs did hearken back to courtship relationships or promise youthful magnificence via the acquisition of a Maytag washer. Consider the following, sung to ‘Too Many Parties’: Too many washboards and too many tubs May break your
back some day; Too many wristbands that should be rubbed Bring sorrow to you on washday. But just get a Maytag and we’ve no worry You will look youthful in lower than a 12 months; Maytags wash quicker and cleaner we are saying, So let’s put a Maytag in your house right now.37 Let’s flip to some additional examples. The Maytag Company launched the washing machine to exchange the washboard technology. Some of the organizational songs spoke to the buyer and why they need to substitute the washboard of their homes with the newer washing machine expertise. Consider the next example, sung to the tune of ‘Bye-Bye Blackbird’: Bye-Bye Wash-Board38 Pack up all of your cares and woes I don’t care the place you go. Bye-bye wash-board. If someone asks for you I’ll just say ‘Went Keflue’ Bye-Bye wash-board. I actually have all the time found you mighty useful, But that ‘Maytag’ certainly is a dandy.

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It washes garments, women hose, Press the lever and away it goes Wash-board bye-bye. This is an example of how salesmen used a discourse that marginalized the washboard expertise (e.g. ‘bye-bye wash-board’) – a discourse that might be understood as creating ‘power over’ the consumers’ ideas of the worth of old expertise (e.g. washboard) versus new know-how (e.g. washing machine). Other songs served as an analogous sort of discourse. These didn’t marginalize the low-technology washboard; however, rather exalted the product benefits of the new washer know-how. Consider the following instance: Queen for a Day39 Would you hear the tale of a weekly fear changed to a contented sphere By one who serves? Washday now has misplaced blue Monday look. Maytag days have made the entire world speak. Washday is a dream; Clothes supremely clean When accomplished Maytag means Have that joyous satisfaction; Clothes cleaned to perfection Done with gyrafoam motion, Time for happiness and play. Be the pleased one When your wash is completed, You’re queen for the day. Let the Maytag clear up your troubles With ‘White King’ bubbles, Notice how your play time doubles, You’re queen for the day. These Maytag Company songs are examples of discourses framed by the gross sales group and directed at customers, in search of to exert ‘power over’ client behaviour. These discourses spoke to the inferiority of the earlier technology (washboards) versus the prevalence of the brand new washing machine know-how. As well, these
discourses

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exalted the product benefits of the washing machine know-how; however, not on the expense of the earlier know-how. Here we assert that these songs, sung by the Maytag Company gross sales organization, not solely had ‘power to’ shape the id, tradition, and actions of the sales organization; however the songs may have had ‘power over’ client behaviour (or, one may posit that this is the need of the gross sales organization). We draw a parallel between the Maytag Company sales organization’s use of music to compose a client tradition (a culture predicated on the worth of proudly owning and using a Maytag washing machine product) and Altman’s (1990) evaluation of the Better Homes in America (BHA) Campaign, and what she named the ‘discursive constitution of ideology’ (p. 286). Altman describes how BHA, ‘a nationwide reform marketing campaign in the course of the 1920s, mobilized establishments with various interests in defining the trendy American house and in addressing the American public as consumers’ (p. 286). She continues, ‘BHA constructed a modern ideology of house ownership, house responsibilities, and consumption’ (p. 280). This formation of consumer tradition was realized by way of a quantity of rhetorical strategies, similar to: dedication speeches; homemaking articles; fiction; and, non-fiction. Our research suggests that organizational music may have acted as a similar rhetorical technique, and one may perceive the Maytag Company sales organization’s performance of organizational songs as the ‘composing of a client culture’. How a lot these songs had been a think about Maytag’s gross sales is inconceivable to quantify. Certainly many different elements, from product design to the general socio-economic environment additionally played a job. But we consider that the songs, as a form of aesthetic discourse played an necessary and infrequently undervalued role. There is a power in aesthetic discourse that’s subtle and does not match properly in most standard theories of power. It is a power that is not based within the properties of the people concerned, it’s not primarily based in the authority and legitimacy structures of the social scenario, nor even within the relationship of those involved. It is a power based in the type (not
the content) of the discourse. It is this concept of energy based mostly in type that is the unique focus of important engagement with aesthetic discourse such as these organizational songs. And it’s by way of this power, that songs are capable of play a unique part in forming and maintaining features of organizations corresponding to tradition, id, and picture.

Conclusions
This study is not definitive; it’s exploratory and meant to impress thinking and concepts concerning organizational track as an organizational

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discourse and aesthetic expression of organizational tradition. We acknowledge that a lot extra research is possible. However, we assert the following. First, while Strati (1992) and Gagliardi (1996) have usually discussed aesthetic discourse and aesthetic communication, respectively, this research identifies organizational music as a unique organizational discourse – an aesthetic discourse. Second, Hazen (1993) posits, ‘Are organizations sound?’ (pp. 20–1), asserting ‘As we hear what goes on in them, we learn something totally different from what we see’ (p. 21). This examine suggests, extra particularly, that organizations may be sung; and, certainly we might study something in regards to the organization if we listen to the songs that are sung in organizations. Third, and equally, O’Donnell (1985, p. 10) asserts a pedagogical significance of songs carried out by staff. Thus, songs might educate us, organizational researchers, about organizational life, and such songs could educate staff about organizational life. Fourth, Barry and Elmes (1997) ask, ‘what form will strategic narratives take next?’ This analysis means that a new kind may be the organizational music, given its energy to shape id and picture. Finally, the important management research lens permits us to consider that organizational songs not only have the ‘power to’ train us about organizational life, however they may also have ‘power over’ our organizational lives – shaping those that participate within the song of organizational life.

Notes
1. Compiled by Orville Butler within the early Nineties, who was then affiliated with Iowa State University’s Centre for the Historical Studies of Technology and Science. 2. As many as seven completely different corporations manufactured washing machines in Newton, no less than briefly, between 1900 and 1930. Most manufactured them as sideline operations to different product strains. However, 4 – Maytag, One Minute Washing Machine Company, Automatic Electric Washing Machine Company, and Woodrow Washing Machine Company targeted on washing machine manufacturing. The neighbouring communities of Grinnell and Pella also had manufacturers devoted to washing machines (Swisher, 1940). 3. Bones, W. (1933). Testimony: Maytag v. Easy and Maytag v. Hurley and Electric Household Utilities. Maytag Archives. 4. ‘High Lights of the Philadelphia Meeting of October 7th’, Maytag Profit News, Easterner Edition, 1(11) (December 1927), 17. 5. Newton Daily News, 5 January 1923, 1. 6. A 1939 Supreme Court ruling overturned those patents, however that story lies exterior the purview of this chapter. 7. As late as the Forties there were nonetheless four washboard (the manual various to washing machines) manufacturers in the US, and initially of the twentyfirst century solely the Columbus Washboard Company remained, which up until 1998, was owned by Steve Taylor’s (this chapter’s author) family.

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8. ‘The Maytag Troubadours’, Maytag Profit News, Southern Leader Edition, 1(1) (February 1927), 15. 9. Newton Daily News, 2 January 1924, 1; Newton Daily News, 3 January 1924, 1; Newton Daily News, four January 1924, 1; Newton Daily News, 7 January 1924, 1. 10. Newton Daily News, 29 December 1924. eleven. Newton Daily News, 9 January 1925, 1; Maytag Profit News, 4(6) (January 1925), 1. 12. ‘Ten Years … A Review and a Prophecy’, Maytag Profit News, Easterner Edition, 4(4) (May 1930), 25–6, 54. thirteen. Newton Daily News, 6 October 1926, 1; Newton Daily News, 7 October 1926, 1. 14. Newton Daily News, 11 October 1926, 1; Newton Daily News, 12 October 1926, 1; Maytag Profit News, Southern Leader Edition, 1(3) (April 1927), 18. 15. Newton Daily News, 12 July 1927. 16. Newton Daily News, 24 September 1927, 1;
Newton Daily News, three October 1927, 6. Newton Daily News, eleven October 1927, 1; Newton Daily News, eight November 1927, 1. 17. ‘Division “A” Marches on Newton’, Maytag Profit News, Kansas City Spotlight Edition, 2(9) (October 1928), 28–9, 33. 18. Newton Daily News, 9 November 1927, 1. ‘WHT Radio Programs Continue’, Maytag Profit News, Western and General Edition, 1(12) ( January 1928), 39; Bones Booster Edition, 1(12) ( January 1928), fifty five; Easterner Edition, 1(12) ( January 1928), 47; Southern Leader Edition, 1(12) ( January 1928), forty seven; Kansas City Spotlight Edition, 1(12) ( January 1928), forty seven; White Lightning Edition, 1(12) (January 1928), sixty three. 19. ‘Radio’s Best Now Entertains Maytag Audience. Premier Maytag Talent Now Broadcasts From WHT, Chicago, and Five different Super-Power Stations’, Maytag Profit News, Western and General Edition, 2(1) (February 1928), 7, 36–7; Bones Booster Edition, 2(1) (February 1928), 7–8, 36–7; Easterner Edition, 2(1) (February 1928), 7–8, fifty two; Southern Leader Edition, 2(1) (February 1928), 7–8, 36–7, 52; White Lightning Edition, 2(1) (February 1928), 7–8, 92. 20. Maytag Profit News, Western and General Edition, 2(8) (September 1928), 37. 21. ‘Maytag Adds two More Stations to Radio List. Maytag Programs Now Reach Average of More Than 14,000,000 Persons Every Week’, Maytag Profit News, Western and General Edition, 2(2) (March 1928), 4; Bones Booster Edition, 2(2) (March 1928), four; Easterner Edition, 2(2) (March 1928), four; Southern Leader Edition, 2(2) (March 1928), 4; Kansas City Spotlight Edition, 2(2) (March 1928), four; White Lightning Edition, 2(2) (March 1928), four. ‘Maytag Adds WBZ to Broadcasting Units. Boston Station Starts Programs April sixth to Cover Eastern States’, Maytag Profit News, Western and General Edition, 2(3) (April 1928), 6; Bones Booster Edition, 2(3) (April 1928), 6; Easterner Edition, 2(3) (April 1928), 6; Southern Leader Edition, 2(3) (April 1928), 6; Kansas City Spotlight Edition, 2(3) (April 1928), 6; White Lightning Edition, 2(3) (April 1928), 6. ‘Notice’, Maytag Profit News, White Lightning Edition, 2(4) (May 1928), seventy nine. 22. ‘Maytag Sponsors New Type Radio Programs to on to Large Number Stations Expected to Revolutionize Our Radio Entertainment’, Maytag Profit News, Western and General Edition, 2(12) ( January 1929), 22–3, 40; Kansas City Spotlight Edition, 2(12) ( January 1929), 22–3, fifty six; Bones Booster Edition,

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2(12) ( January 1929), 22–3, sixty four; Easterner Edition, 2(12) ( January 1929), 22–3, sixty four; White Lightning Edition, 2(12) ( January 1929), 22–3, 104. ‘Maytag Goes On Chain. Hook-Up with Coast-to-Coast Spread. First Program Meets with Enthusiastic Audience. Ted Fiorito and His Maytag Orchestra Prove to be Outstanding Radio Feature’, Maytag Profit News, Western and General Edition, 4(2) (March 1930), 18–19, 36; Bones Booster Edition, 4(2) (March 1930), 18–19, fifty two; Easterner Edition, 4(2) (March 1930), 18–19, 76; Kansas City Spotlight Edition, 4(2) (March 1930), 18–19, 52, photocopy of Western Union Cablegram, F. L. Maytag to Roy C. Witmer, 27 January 1930. ‘Ten Years … A Review and a Prophecy’, Maytag Profit News, Easterner Edition, 4(4) (May 1930), 25–6, fifty four. Ted Pearson replaced Fiorito in March 1930. Roy Bargey in turn, replaced him in May 1931, who was replaced by Clarence Wheeler early in 1932. ‘New Conductor of the Maytag Radio Orchestra’, Maytag News, 6(2) (March 1932), 6. ‘Song Contest!!!’, Maytag Profit News, Bones Booster Edition, 4(5) ( June 1930), 26. ‘Maytag Included in Song of Flying Artillerymen’, Maytag News 17(4) (May 1943), 12. Maytag Profit News (February 1928), inside cover. ‘Convention Songs’, The Profit News, 4(6) ( January 1925), 2. Maytag Profit News, Easterner Edition, 1(4) (May 1927), 23. ‘Convention Songs’, The Profit News, 4(6) ( January 1925), 2. Maytag Profit News, White Lightning Edition, 1(2) (September 1926), 31. Maytag Profit News, Easterner Edition, 1(4) (May 1927), 30–1. Maytag Profit News, White Lightning Edition, 1(8) (March 1927), 12; Maytag Profit News, Bones Booster Edition, 1(2) (March 1927), 12; Maytag Profit News, Western and General Edition, 1(2) (March 1927), 12; Maytag Profit News, Easterner Edition, 1(6) (March 1927), 12; Maytag Profit News, Southern Leader Edition, 1(2) (March 1927), 12. Maytag Profit News ( July 1931), 8. Maytag Profit News, Easterner Edition ( January–February 1926), 7. Maytag Profit News, White Lightning Edition, 1(5) ( June 1927), 41. Maytag Profit News, Western and General Edition, 3(3) (April 1929), 24; Kansas City Spotlight Edition, 3(3) (April 1929), forty; Bones Booster Edition, 3(3) (April 1929), forty.

23.

24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35.

36. 37. 38. 39.

8
On the Manager’s Body as an Aesthetics of Control
Nancy Harding

Overview
This chapter stems from a larger project which aims at developing an understanding of the methods in which managers are subordinated to the organizations in which they work. Managers make up a big proportion of the scholars I educate, and I meet them often as a half of my analysis: it seems to me that their jobs are unappealing, their amenity to being exploited is huge, but they are in the best place by which to arrange some form of revolt in opposition to the situations of their work. That they continue to be utterly subordinated to working lives that have little to advocate them is a source of curiosity for me. To counsel that it’s their salaries or other perks of their jobs which ensures their quiescence is, I assume, crass and presumptuous. In this chapter I explore one of the reasons for their continued subordination, which I discover within the aesthetics of the managerial physique. The aestheticization of their our bodies has been proven to be forms of control over staff (Hancock and Tyler, 2000; Warhurst and Nickson, in press): right here I will develop these arguments to show how managers are similarly controlled. I am, on this chapter, drawing upon an earlier suggestion made by Hancock and Tyler (2000) that combining Foucault and Marx might provide a robust mode of understanding, but I am drawing largely upon theorists who have developed the works of Foucault or Marx, principally Judith Butler and Fredric Jameson, to develop my arguments.

The ubiquity of embodiedness
Although we are only now consciously recognizing the inescapable ubiquity of our bodies in organizations, the trace of the embodiedness of 115

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managers has been evident all through classical management literature.
Mintzberg’s well-known examine (1973) emphasizes visibility; the empirical studies of the Nineteen Fifties, 1960s and Nineteen Seventies into the ‘reality’ of administration, continued into the Nineteen Eighties and 1990s within the work of Rosemary Stewart (1983, 1994), reveals it; and the injunction to managers to ‘walk the talk’ embodies it. In the research I really have undertaken with colleagues (Ford and Harding, 1999; Alimo-Metcalfe and Lawler, 2001) this embodiedness was encapsulated within the idea of the manager as someone who’s ‘seen’. For instance, when researching concepts of management in organizations in 2000, we requested a senior supervisor in a large pharmaceutical firm whether or not there were role fashions for leaders in his organization. He answered: If you checked out our CEO [name], I think everybody would understand him as a frontrunner. I am undecided everyone would assume his type was the best on the earth, but nevertheless they see him as a frontrunner. He is very clear. He is on the market. He is very visible. He champions the group. I think people perceive him as a frontrunner. In one other research of an organizational merger, we asked the chief executive of the newly merged NHS Trust, now one of the largest such organizations in the UK, how he spent his time. He first gave us a long list of the meetings he holds often with the senior management staff, and then he turned his attention to the workers of the Trust: I spend various time chatting with giant teams of people, bigger teams of employees and managers, … open employees meetings have been a continuing need the means in which that we’re attempting to guide the group. I’m doing a sort of at present at [outlying] Hospital, I did one yesterday at [even extra distant] Hospital. We started to attempt this quarterly and we’re now doing it … twice a year, and a kind of occasions is on the time we published the annual report. And that’s about seen leadership and about being ready to be accountable to the staff should you like. His words are echoed throughout interviews with different members of the senior and middle administration team. Personnel or HRM insurance policies inside this organization of 14,000 employees, the interviewees inform, revolve across the visibility of the management staff and its desire to achieve emulation via the managerial exemplar. Yet bodies remain an ‘absent presence’ within studies of organizations (Ball, 2001). I will convey them into this chapter by, firstly, defining the

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way in which I am using the idea of aesthetics. I will then discover the manager’s body, exhibiting how it can be seen as an anankastic1 aesthetic which seemingly makes an attempt by way of unstated appeals to mimesis to function as a mode of control over workers, one that my mannequin of aesthetics suggests may be easily rejected. However, by drawing upon post-modernist and Marxist views, I will present how the manager’s physique is each produced and consumed by the supervisor; that it’s both subjectified and objectified; and that it thus stands each inside and outside a supervisor whose agentive capability lies largely on this production of a commodity which consumes its producer.

Aesthetics
‘Aesthetics’ as a time period is used somewhat broadly, so I will begin by developing the mannequin which might be used in this chapter. The collection of papers in The Aesthetics of Organizations (Linstead and Höpfl, 2000a) illustrates the very looseness of the concept, with authors defining aesthetics as: ● ●

● ●

Artworks within, or the bodily surroundings of, organizations The study of organizations involved within the development of aesthetic objects A research method A form of information based mostly on the senses.

In this chapter, I use the final of the above definitions: aesthetics as a form of data based mostly upon the senses. Here, I follow Strati (2000a), and Carter and Jackson (2000), who distinguish usefully between two senses of ‘aesthetic’: one which refers to judgements about taste, the place the aesthetics are a property of some object and thus are external to the individual; and the other which refers back to the emotional response skilled by an individual in relation to some externality, where the aesthetics are a property of the person somewhat than the externality. It is that this latter sense I use to inform this chapter, which sees aesthetics as a means of figuring out through tacit knowledge, and understanding achieved by way of empathy,
which permits a contamination of the verbal by the visible and all the other senses (Strati, 2000a). The aesthetic works via processes of mimesis which involve ‘imitating, then bricolating and innovating with the habits and symbols of others’ (Linstead, 2000, p. 63), so that an aesthetic response of topic to object involves an opening as a lot as the item so that it works upon us, unselfconsciously, with out the standard comprehensions of significance, meaning, interest or

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cause and impact, leading to responses that are pre-conscious, past words, and therefore can conflict with conscious, logical apprehensions. But, this definition lacks a critical edge, a shortcoming partially made good by Carter and Jackson (2000) who argue that ‘all organization(s) produce(s) an aesthetic which is “designed” to elicit positive responses from all those with whom transactions, of no matter type, take place’. The function of aesthetics is to masks and deny the experienced actuality of group, via a structuring of kind and content in such a way as to elicit optimistic responses. It is an aesthetic, they are saying, which induces, sustains and rewards compliance, and works by interesting to the ‘shared language’ of a neighborhood and the unconscious responses and intersubjective recognitions of a specific tradition. To settle for it with out demur is to uninteresting consciousness, so ‘ironically, organizational aesthetics an-aesthetize’ (Carter and Jackson, 2000, p. 195). Aesthetic understanding can subsequently be seen as a mannequin of knowing which adds the sensory to discursive processes, and which can serve to mask, negate, demean and diminish. Embedded inside cultures, aesthetics works upon the psyche and, carefully manipulated, can achieve subordination. Yet there remains one thing amiss here, for these definitions recommend an ideology that presumes what Pollock (2001) criticizes as a ‘pure realm of imaginative and prescient that exists earlier than gender, race, class and all other social influences have their effects’ (p. 23). It suggests a subject who, although playful, is incapable of company or of resistance to this single, shared aesthetic language. Eagleton would demur, for his work means that the language of the aesthetics is shared within but not between lessons. He writes that: the class of the aesthetic assumes the importance it does in
trendy Europe as a outcome of in talking of artwork it speaks of … matters … that are on the coronary heart of the center class’s struggle for political hegemony. The construction of the fashionable notion of the aesthetic artefact is thus inseparable from the development of the dominant ideological types of modern class-society, and certainly from a whole new type of human subjectivity applicable to that social order. (1990, p. three; emphasis added) For Eagleton, subsequently, aesthetics helps provide understanding of a subjectivity that’s peculiar to the center class. His work warns of the need of avoiding the presumption that an aesthetics which is a projection of a center class subjectivity is well integrated into the sensibilities of other classes. Indeed, a homogeneous middle class subjectivity cannot be presumed.

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[newline]

The specular foundations of aesthetics, too, can’t be ignored. Whether in play, poetry, no matter, the position of the attention in the aesthetics of organizations, the attention as the royal highway to the psyche, is dominant. The visual field thus brought into play is imbued by way of and through with sexual distinction, so that all acts of vision and visible illustration contain sexuality and sexual distinction (Rose, 1986; Pollock, 2001). Here, sexuality and sexual difference does not discuss with ‘woman’ (Pollock, p. 38, warns against the ‘bourgeois fiction that girl is “the sex” above which man rises in his transcendent universality’) however to the fluidity of sexualities and the multiplicity of genders, the understanding given to us by gender research and queer concept. An exploration of aesthetics must be knowledgeable by gendered susceptabilities. This raises such questions of the visual as who’s trying and who is looked at, why and the way and with what results (Pollock, 2001, p. 27). When we as researchers step into organizations, whose imagined worlds are we allowed to see? In the wider definition of the aesthetic, we must therefore ask questions not solely of the visible but of the other senses. Thus, Strati’s (2000a, pp. 20ff.) itemizing of aesthetic categories on this perspective ought to be qualified by a sequence of questions. When exploring Beauty – who defines what is Beauty? With regard to the Sublime, which ‘evinces the pathos of the material and nonmaterial organizational artefacts that embodies the organization’s memories’ (Strati, 2000a, p. 21): who
decides what should be archived or canonized into memory? The Ugly – who is wanting and who seemed at? The Comic – who’s laughing and whose laughter is suppressed? The Gracious – who is allowed to be gracious and who condemned to unnatural positions? The Picturesque or game-playing – who units the principles, and who is allowed to break them? The Agogic, grounded in movement and rhythm – who performs the tune and who states what the steps ought to be? The Tragic – who offers themselves the function of hero? The Sacred, or imaginary territories corresponding to skilled competence, on which no-one should trespass – in whose interests are definitions of what is sacred maintained? Who are the high clergymen and who the sacrificial victims? Furthermore, I would counsel that post-modernism has taught us that communication takes place in methods that are unintended, unconscious, unintentional, and so forth. Thus the deliberate act of manipulation of the aesthetic which is implied in many applications of an aesthetic understanding to organizations could tell solely part of the story: as we’re inevitably surrounded by aesthetic objects, aesthetic types of knowing might occur from communicating with organizational artefacts whereby no acutely aware try at instrumentalization has taken place, and the place little appreciation of what has been communicated to us occurs at a conscious stage.

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Thus, the mannequin of aesthetics I use in this chapter is one which agrees that organizations assail us with sensory forms of knowing and being. We could additionally be subordinated, demeaned and managed by them, however there isn’t a direct relationship between aesthetic object and subjectivity. The route to the psyche has many turnings and byways; certainly perhaps it’s the very playfulness of an aesthetic figuring out (humour, poetics, rhythm) that enables resistance to an aesthetics the person perceives as ugly or clashing. So although organizations, or somewhat their managers, increasingly search to instrumentalize the aesthetic (Strati, 1999), leading to gross examples of makes an attempt at ‘colonizations of the idea of the attractive as an instrument of corporate managerialism’ (Hancock and Tyler, 2000, p. 109), the makes an attempt might backfire, or maybe hearth off in all instructions, for there is no easy causal relationship between aesthetic and its reception. Much aesthetic
communication in organizations will arise without acutely aware intent.

The manager’s body: an anankastic aesthetic
Hancock and Tyler (2000) have shown how managers could use the our bodies of workers to achieve, by way of using the aesthetic of (in this case air stewardesses’) our bodies, organizational ends. In this part I will recommend that managers’ bodies too ‘embody the desired aesthetic of the company’ (2000, p. 117), for they signify, utilizing the discursive shorthand of the aesthetic, the behaviour that is anticipated of employees. I will be focusing largely upon male managers, for they set the norms to which women managers must aspire if they’re to succeed throughout the organization, and indeed it is potential to recommend, drawing upon concepts from queer principle, that female managers must ‘re-gender’ themselves. I will here argue that the emphasis upon managers’ visibility, upon their being seen to ‘walk the talk’, includes inside it an inchoate want that employees gaze upon the fleshly envelopes that are paraded before them, and through gazing take in the message contained inside that envelope. The invocation inherent in the managers’ our bodies, a mute enchantment to emulate their ‘leaders’, is a wish that employees become rational, logical, impassive, completely devoted to the ends of the organization. The aesthetic method of figuring out means that the manager’s physique is an aesthetic code which attempts to insert managers into the minds of workers (Alvesson and Deetz, 1999). The code is to be found in the go well with, the tie, and the enforced removing of as many references as possible to the fleshly materiality of the manager’s physique. Managers’ bodies are denuded, as far as is humanly potential, of all references to flesh and to nature. Clean-shaven, as much flesh as possible

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is hidden by the swimsuit. The hands, perforce, have to be seen, but otherwise only the pinnacle protrudes above the collar and tie. The tie has little if any practical worth, however its aesthetics is Cartesian at its most profound: it sharply divides the ‘head’ from the (negated) body; seemingly slicing off the considering part of the physique from the flesh upon which it relies only, it will seem, for locomotion and visibility. The tie is a phallolinear mark
(Reichert, 1992, p. 87) that divides nature from culture. Managers are clean-shaven. Hair is an ideological image (Synott, 1993). Rosabeth Kanter famous in 1977 that: Managers at Indsco needed to look the half. They were not exactly minimize out of the same mildew like paper dolls, however the similarities in appearance have been putting. Even this relatively trivial matter revealed the extent of conformity pressures on managers … The norms were unmistakable, after a customer saw sufficient managers, invariably white and male, with a sure shiny, clean-cut look. The solely beards, even after beards grew to become merely quite daring rather than radical, were the outcomes of vacation-time experiments on camping trips, except (it was said), for a few in R & D – ‘but we all know that scientists do strange things’, a sales manager commented. (Quoted in Synnott, 1993, p. 112) Since the Second World War beards have signified both insurrection or the foreign other: a clean shaven appearance signifies conformity and the conservative. Beards symbolize too a masculine nature that can be untamed and uncontrolled: the male is revealed as near nature by the evidence of bodily hair that threatens to turn into uncontrolled if not rigidly removed at regular periods. A clean shaven chin demonstrates the suppression of nature and its elision from the managed managerial world.2 The manager’s physique is encased in a swimsuit. The suit, J. C. Flugel noted in 1930 in The Psychology of Clothes, permits masculine allegiance to the bigger social order and man’s privileged position therein. The consequence of this, Flugel writes, is that ‘modern man’s clothes abounds in options which symbolize his devotion to the ideas of duty, of renunciation, and of self-control. The entire relatively “fixed” system of his clothing is, in fact, an outward sign of the strictness of his adherence to the social code (though on the similar time, due to its phallic attributes, it symbolizes essentially the most basic options of his sexual nature)’ (Flugel, 1930, p. 113, quoted in Silverman, 1988, p. 25). In this, Silverman (1988) indicates, Flugel is highlighting the contradiction between a male clothing that allows the detachment of the male body increasingly more from sexuality,

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and at the same time its development of masculine sexuality through its phallic illustration. This ambivalence is important. The be-suited,
clean-shaven managerial body represents a political need for the summary and largely unrealizable perfect that culture and society designates as its masculine norm, expressed in this be-suited cultural manufacturing (Solomon-Godeau, 1997, p. 29). Yet, as Silverman (1988) reminds us, the references to sexuality and thus to nature are always there, by no means completely subliminated or suppressed. It is however too easy to do what SolomonGodeau does, and argue that the continued presence of signs of ‘nature’ characterize ‘the extra powerful bonds that unite males to one another and which collectively function to safe the subordinate position of women’ (1997, p. 86), for that ignores Pollock’s (2001) warning, famous above, that sexuality and sexual distinction does not discuss with ‘woman’, however to ‘gender’, and ‘man’ just isn’t a homogeneous class. Rather I recommend that the suit and tie, in demonstrating directly both rigid control and indicators of a sexuality which all the time threatens to break by way of, can permit the supervisor to claim the potential for rampant sexuality (look at the size of that tie!!) and, importantly, the power to rigidly subordinate and management it. Were these indicators of potency completely absent, the aesthetic would lack its power. What I will name the ‘social semiotics of the managerial body’ (based upon a dialogue in Pritchard, 2000) thus indicators to employees the kind of physique and thus of embodied behaviour to which they should aspire – ascetic, neat, disciplined, managed, leak-proof – but always masculine and at all times potent. From physique to mind, and here we see the facility of the aesthetic – the thoughts that’s in these our bodies ( Johnson, 1987) ought to similarly be ascetic, neat, disciplined, organized, rational, masculine. Thus the above-noted emphasis upon the necessity for visibility of managers and ‘leaders’ indicators the way during which managers’ bodies enter the discourses of the group and thus talk with staff. They signify an organizational aesthetic associated with the highly effective discourse of masculinity (Kerfoot, 2000), i.e. imbued with ‘masculine’ purpose rather than ‘feminine’ nature (Seidler, 1994). ‘At all times’, Kerfoot writes (2000, p. 231), ‘managers should be involved with the hassle to show that they, as managerial our bodies, are trustworthy and reliable; for within the accomplishment of managing their own body (sic), managers display the power to handle others’, and in occupying the ‘privileged bodily designations’ of the manager, the ‘competent’ manager’s mark is an ‘ability to display the body in a fashion that is
culturally acceptable to their organization’s bodily code’. The swimsuit is thus contrasted with different uniforms, other modes of organizational gown: the suit speaks of energy and authority, of its wearer being the individual who gets others to do the work.

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This be-suited physique is the culturally acceptable Western, Cartesian body that has nicely organized structures, boundaries and organs. It is a male physique, one that does not leak (Shildrick, 1997). That is the message given to the senses by the manager’s body. It is an anankastic aesthetic which exhibits that every one feelings ought to be rigidly controlled, an excessive conscientiousness ought to be maintained, and a relentless checking for perfectionism and meticulous accuracy should be undertaken. This then appears to be the aesthetic of the managerial body: it (literally) embodies a shorthand version of managerial discourse, which indicators to workers their encultured, commodified, objectified, subjectified standing. However, I even have warned above in opposition to supposing a simple reception of aesthetic messages. The assumption that each one communications are performative, bringing into being the specified practices, is to be present in policy paperwork and textbooks, but agents’ apprehensions of the messages are multiple, advanced and variable. Eagleton’s (1990) perspective means that staff trying on the besuited managerial physique will react not with compliance and a desire for mimesis, but with blindness and deafness to an aesthetic that speaks a class-based language. Indeed, rejecting such an aesthetic might represent one type of resistance. There is however one actor who can’t escape from the aesthetic of the managerial body – the manager himself. The manager appears within the mirror and sees a mirrored image of himself as manager. This, I counsel, is the place we are in a position to see the aesthetic of the manager’s physique working efficiently to attain conformity, rigidity and obedience, for the supervisor in taking a look at his own reflection is essentially the most keen recipient of its aesthetic message. This, most clearly on this Foucauldian-informed age, is a physique that has been manufactured, or labored on, by the manager. In what follows I will draw upon Foucauldian theories of the physique to level out how the managerial body is produced as a subjectified body, and then will flip to Marx and Jameson to
present that it is also an objectified physique.

The managerial physique as subjectified product
Implicit within the foregoing is the idea that the manager’s physique is not a lived physique, however one dissolved materially into discourse and signal. Whilst it is important not to lose the materiality of the body (Casey, 2000), in the case of the manager’s physique what we see is the subordination of flesh to aesthetics, in order that this lived physique turns into, inside organizational time and space, one constituted past the fabric. In such a constitution it becomes a subjectified body, that is a Foucauldian body

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whereby the material physique is revealed to be a ‘thought body’ whose particular locale in a technical, cultural and scientific history offers it with the concepts through which it is thought into being. Deleuze and Guatarri’s work famously tells of a body-without-organs, a body that is experienced as a non-organic idea, not when it comes to its organic group but rather as a surface (Lash, 1991). This is a ‘body of inscription’ and it’s not the organic, anatomical body of medicine but the ‘non-organic, political surface’. This is a social body, the body which one ‘does’, as distinct from the body one ‘has’ or ‘is’ (Turner, 1992). Judith Butler (1990, 1993) has developed these concepts powerfully. Combining Foucault with Freud and drawing upon a range of philosophical thinkers, she reveals that the physique is both a development and also constitutive in that we couldn’t function, could not be an ‘I’, without it, so that development is constitutive constraint. She says we should ask how such constraints ‘produce the domain of intelligible bodies’ (Butler, 1993, p. xi) and, following Foucault, replies that materiality should be ‘rethought as the effect of energy, as power’s best effect’ (Butler, 1993, p. 2), whereby ‘sex’ is doubtless considered one of the norms by which the physique is qualified for a life inside the area of cultural intelligibility. Thus ‘the matter of our bodies might be indissociable from the regulatory norms that govern their materialization and the signification of these materials effects’ (Butler, 1993, p. 2). Dealing with the unavoidable materiality of the physique, Butler argues that this materiality is bound up,
from its begin, with signification, through the ‘materiality of the signifier’ (Butler, 1993, p. 30). This materiality of the signifier is said, Butler argues, to a ‘body posited as previous to the sign’ which is ‘always posited or signified as prior. This signification produces as an effect of its personal process the very physique that it nonetheless and simultaneously claims to discover as that which precedes its own actions’ (Butler, 1993, p. 30). Here we have an analogy with the scientist within the laboratory who, the sociology of scientific information has shown, claims to uncover that which was already waiting there, in nature, to be discovered, however who in impact brings nature into being by way of the constitutive energy of scientific language. The physique that Butler sees is thus introduced into being via the constitutive and performative powers of language – the materiality of the physique is prior to language, however our comprehension of that matter is achieved via signification. Here we now have the familiar argument, in considerably much less familiar language, that language constitutes that which it articulates, that there’s a material world however it’s only understandable to us by way of language, but Butler goes past the acquainted in demonstrating how the physical matter of our bodies, which previous to Butler

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had been seen as beyond the reach of signification, are inevitably discursive productions. Rose (1998), drawing upon Deleuze and psychoanalytical principle, complements this attitude of the body as both building and constitutive restraint. The Deleuzian physique, like that of Foucault and Butler, isn’t a ‘bounded envelope’ containing within it a depth, however a channel of ‘processes, organs, flows, connections, the alignment of 1 aspect with another’ that kind a ‘particular body-regime’ (Rose, 1998, p. 184). Rose suggests that the methods by which we understand our selves and our our bodies at any time, indeed any distinction between the two, is due to ‘the methods during which specific relations of the outside have been invaginated, folded, to type an inside to which it seems an out of doors should always make reference’ (Rose, 1998, p. 188). This argument is similar in some respects to Linstead’s (2000) understanding of how aesthetics operates. Linstead (2000) argues that we have turn out to be psychological creatures because
of ‘the methods during which, in so many locales and practices, psy vectors have come to traverse and link up these machinations’ (p. 185). The metaphor of the fold, which calls to mind the additional metaphor of the amoeba, ‘describes a determine during which the within, the subjective, is itself not extra than a second, or a collection of moments, via which a “depth” has been constituted within human being. The depth and its singularity, then, is no more than that which has been drawn in to create an area or series of cavities, pleats, and fields, which exist solely in relation to these very forces, lines, strategies, and innovations that sustain them’ (Linstead, 2000, p. 188). A configuration of forces, our bodies, buildings and strategies hold in place that which has been folded inside and stabilized. For Butler, such folding consists of the physical materiality of bodies; for Rose it contains these things that at any time have authority. With regard to managers, I suggest that what’s folded throughout the manager’s physique is the organization ‘itself’, for the mimetic relationship between the human body and group concept cannot be missed. The urge of physiologists to define and delineate is replicated by organizational theorists. This anthropomorphization, this ‘elision between organization and organism’ (Dale and Burrell, 2000, p. 21) goes far beyond the standing of metaphor claimed for it by Døving (1996), for the organization-as-body just isn’t enfleshed, it’s an ‘organ without bodies’ (Dale and Burrell, 2000, p. 21), with out emotions, even perhaps a non-human cyborg or human machine system (Parker, 2000a). Importantly, the opposite of organization is chaos: the organization is order, harmony, management – it is not-chaos. The mimetic relationship between organization and physique is prefigured in Mary Douglas’ (1966) analysis of ‘dirt’. The boundaries of the body,

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she suggests, anticipating post-modern theories by greater than twenty years, are drawn not by the material but by the boundaries of the social. So great is the need for controlling the body that the transcendence of its boundaries is for Douglas the quintessential metaphor of social dysfunction and chaos. Douglas writes ‘each tradition will must have its own notions of filth and defilement which are contrasted with its notions of the optimistic structure
which should not be negated’ (1966, p. 159). Furthermore, Butler (1993) suggests that a post-structuralist appropriation of Douglas’ view would possibly well perceive the boundaries of the body as the bounds of the socially hegemonic. From this angle the manager’s physique can be seen as synecdochal for the social system per se, as a website in which open methods converge, so any kind of unregulated permeability constitutes a website of air pollution and endangerment. In societies dominated by organizations, subsequently, notions of ‘dirt and defilement’ resolve themselves around notions of chaos: cleanliness signifies order; filth its different. The be-suited managerial body, hiding away all flesh save for face and hands, clean-shaven and strictly barbered, can be seen as rigorously sweeping away all indicators of ‘dirt’ and elevating the ‘cleanliness’ of order over the ‘dirt’ of chaos. So, I am arguing, the manager’s physique speaks of the concern of unregulated staff who, in the occasion that they united, might endanger the organization. However, I truly have suggested that employees are kind of impervious to this message, so which ‘unregulated worker’ is to be feared? Let me introduce at this point Foucault’s concept of dressage, as utilized by Jackson and Carter (1998). They link two themes from the work of Foucault: governmentality and labour as dressage. Governmentality, after all, concerns the management of a inhabitants at both an aggregate and a micro degree, while dressage is considered one of three capabilities of labour identified by Foucault (the different two being the productive and the symbolic). Dressage means each discipline and taming, and usually refers back to the mastering of a horse in deportment and response to controls. It means ‘making horses carry out unnatural actions and obey control which is for control’s sake, for the gratification of the controller’ ( Jackson and Carter, 1998, p. 54). Labour thus, in its dressage sense, is ‘non-productive, non-utilitarian and unnatural conduct for the satisfaction of the controller and as a public display of compliance, obedience to discipline’ ( Jackson and Carter, 1998, p. 54). Management, charged with controlling workers however in the absence of any evidence that they want control, instigates labour as dressage, where work is subject to manage, not for functional causes however for the sake of control itself. I recommend that managers too are topic to their labour as dressage, where they must be managed for the sake of management itself. For who manages the

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managers? Do we not have right here the internalized Panopticon, with managers managing their selves? The manager, placing on his tie in front of the mirror every morning, dressing himself up as manager, inscribing upon this be-suited body the aesthetic of order, thus turns into inscribed inside a discourse of self-control, symbolized aesthetically through the peculiar art work of the managerial body. This is an art work that the manager seems to have customary himself, however in putting on his suit every weekday morning he follows a century-long fashion, seen in administration textbooks in photographs of F. W. Taylor, Max Weber, Frank Gilbreth and the opposite ‘classical’ managerial theorists. The perpetuation of this one style says a lot: in Derrida’s (1995) phrases, we see right here the power of the archive. In Archive Fever (1995) he interweaves a posh relationship between the archive of the library or museum and that of the psyche. The archive is built via a ‘power of consignation’ (Derrida, 1995, p. 3), where consignation refers to not only a placing in reserve but in addition ‘the act of consigning by way of gathering together signs’ (Derrida, 1995, p. 3). Those issues, not all the time discursive writings, saved in archives are stored and so categorised by virtue of a privileged topology, ‘a place of election where law and singularity intersect in privilege. At the intersection of the topological and the nomological, of the place and the legislation, of the substrate and the authority, a scene of domiciliation becomes directly visible and invisible’ (Derrida, 1995, p. 3). The indicators consigned to the archive of the library imbricate the indicators consigned to the archive of the psyche, and vice versa. The archive of the group, from this Derridean perspective, is one which incorporates legal guidelines which work upon the psyche, which suppress and repress as they kind and reform. In this mild, the archive of the organizational aesthetic is written upon the clear shaven, be-suited managerial physique, a representation that has remained largely unchanged by way of a century of managerial history. The imprint of the organization’s history is saved and embodied in the manager’s physical appearance. The aesthetic of management represented in that swimsuit and that clean-shaven physique is an aesthetic of management over managers; the manager is imprisoned within a conservative aesthetic that locks him within the ever-recycled rules and the
cultures of early twentieth century organizations.

The managerial body as objectified product
That then, I counsel, is the subjectified body of the manager, one which states to the supervisor, every time he looks in the mirror, ‘this is who you are; this is what you might have [literally] made of yourself’. In Butler’s phrases, it is a performative body achieved inside citational practices which both

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enable and discipline subjects. But this is the place Butler’s evaluation fails us, for the constitutive constraints of the gendered body differ from those operating inside organizations. Nowhere in her account is there space for exploring how capitalism both constitutes and constrains. It is time due to this fact to take up Hancock and Tyler’s (2000) trace of the attainable fruitfulness of combining Foucault with Marx. Stronger hints of the utility of such a mix are now emerging within crucial administration literature (O’Doherty and Willmott, 2001), and in theories of the body in lived house (Harvey, 1998; Smith and Doel, 2001). Fredric Jameson has nonetheless been arguing the deserves of such a combination for greater than a decade, and it’s to his theoretical perspective that I will flip so as to introduce a Marxist analysis of the objectified body.three Jameson’s analysis doesn’t discover issues relating to embodiment, so I will incorporate ideas from the sociology of the physique into a Jamesonian perspective, to explore how bodies are produced underneath capitalism. This allows a reconciliation of the producer/consumer binary, and facilitates the re-introduction of Marx’s principle of alienation, so resulting in a more nuanced understanding of the aesthetic of the subjectified/objectified manager’s physique. Postmodernism, for Jameson (1991, p. xii), is ‘not the cultural dominant of an entirely new social order …, however solely the reflex and the concomitant of one more systemic modification of capitalism itself’. This modification has resulted in post-modern capitalism, in Jameson’s view the purest type of capital yet to emerge. Everything now has turn into a commodity, and by its transformation right into a commodity, a factor of no matter kind has been lowered to a way for its own consumption, in order that ‘immanent intrinsic satisfactions’ ( Jameson,
1992, p. 11) from activities are misplaced as every little thing turns into means to an finish. Here, the place modernism could ‘critique the commodity and the hassle to make it transcend itself’ ( Jameson, 1991, p. 1), postmodernism is the ‘consumption of sheer commodification as a process’ ( Jameson, 1991, p. 1). The attain of this type of capitalism is vastly extended: it is globalized so that it reaches outwards, nevertheless it has additionally, crucially, moved into previously uncommodified areas together with a colonization of the unconscious, whereby everything in our social lives is penetrated by capitalism. Significantly for this current analysis, this stage of capitalism is basically aesthetic and positioned within the ‘single protean sense’ ( Jameson, 1992, p. 1) of the visual, a lot in order that had been an ontology of this ‘artificial, person-produced universe’ ( Jameson, 1992, p. 1) nonetheless potential, it must be an ‘ontology of the visible, of being as the seen initially, with the other senses draining off it; all of the fights about power and want have to take place right here, between the mastery of the

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gaze and the illimitable richness of the visible object’ ( Jameson, 1992, p. 1). It is thus via the visual that post-modern capitalism is ready to penetrate into the psyche, and it is the psyche which is the locus where people remodel themselves into commodities designed for their very own consumption. There aren’t any references to the aesthetics of the body in Jameson’s work, however writers throughout the sociology of the physique have developed similarly Baudrillardian-inspired ideas to level out how the body is achieved by way of commodification and consumption. Falk (1994), for instance, argues that the physique is profoundly linked with the sense of self – ‘I consume therefore I am’. It has become an outward sign of inward moral standing (Lupton, 1995) and, most influentially, a bearer of symbolic worth (Shilling, 1993). The physique inside consumer tradition, Shilling proposes in an argument which complements Jameson’s, is more and more central to self-identity, related to reflexively, and a project to be labored on, constructed, and consumed. The sociology of the physique lacks the vital political dimension added by Jameson, however the overlap between the objects of their analysis, cultural merchandise and the psyche in Jameson’s case, the
commodified, constituted physique inside sociology of the body, suggests the two views can be fruitfully united. This union produces a physique that is (a) constructed and consumed within a capitalist economy whereby bodies are used in the undertaking of the position of employee within the production of products and services and so contribute to surplus worth, and (b) as client of capitalist goods which keep and represent the commodified body, and so contribute to earnings. In the organization we thus have the conflation of consumption and manufacturing of managerial bodies, for as I have shown, the manufacturing of his/her managerial body is among the manager’s major duties. This offers the opening whereby we will introduce Marx’s concept of alienation. Was Marx’s account of the estranged labourer as potent when written as it is now, when the lens of psychological discourses (Rose, 1989) predispose our studying towards the construction of a selected kind of narrative? Certainly, object-relations theory (Bollas, 1993, 1995) powerfully buttresses Marx’s assertion (1986) that the product of one’s labour is part of one’s ‘essential being’, a being that’s confirmed by one’s work. For Marx, capitalism estranges the product of one’s labour, and thus both commodifies and alienates the employee: [The] object which – labor’s product – confronts it as one thing alien, as an influence independent of the producer. The product of labor is labor

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which has been embodied in an object, which has turn into materials: it is the objectification of labor. Labor’s realization is its objectification. Under these financial situations this realization of labor appears as loss of realization for the workers; objectification as loss of the item and bondage to it, appropriation as estrangement, as alienation. (Marx, 1986, p. 38; emphasis in the original) The employee ‘places his life within the object’, but the estrangement of the object results in the alienation of the worker: The alienation of the worker in his product means not solely that his labor becomes an object, an exterior existence, but that it exists exterior him, independently, as something alien to him, and that it turns into a power on its own confronting him. It means that the life which he has conferred on the item confronts him as something hostile and alien. (Marx, 1986, p. 38;
emphasis within the original) Compare this with Bollas’ (1993, 1995) theory of the self, located within a post-modernist object-relations principle which sees the self as a set of idiomatic selves which depend on important objects for his or her elaboration. In Bollas’ phrases, the self is an ‘internal object’ that’s ‘fashioned from several sources: from an inner feel of the authorizing aesthetic that offers polysemous (not unitary) form to one’s being; from an inside really feel of internal objects which are the result of the other’s effect upon one’s self; from the shape of discrete episodes of self experience’ (Bollas, 1995, p. 173). This ‘internal object’, this ‘phenomenon of the real’, is, he argues, the results of our moving by way of our lives as a novel set of evolving theories that generate insights and new views about ourselves (Bollas, 1995, p. 69). The theories arise from the effect of objects upon us: folks, music, artworks, artefacts, whatever, they ‘move through’ us like ghosts, inhabiting our minds, and conjured up when we evoke their names (Bollas, 1993, pp. 56–7) as we might do within the acutely aware or unconscious thought processes through which we dream ourselves into being. Thoughts of objects certainly kind numerous trains, 1000’s of ideational routes, resulting in an explosive creation of meanings which meet up with new models of life experience (Bollas, 1995, p. 55). There is potential in Bollas’ work to develop a ‘bodily real’ (Campbell, 2000), and there’s also the potential to show his work in course of extra crucial ends. Bollas’ model of object-relations principle can bring Marx’s principle of alienation into an epoch the place psychoanalytical theories type dominant constitutive discourses, and Marxist theories can radicalize

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Bollas’ perspective. The office can, certainly must, contribute to these highly condensed psychic textures which allow us to be ‘substantially metamorphosed by the construction of objects; internally remodeled by objects that go away their traces inside us’ (Bollas, 1993, p. 59). Thus what we produce on the earth of work turns into part of these ‘objects’ which form any core sense of who we’re. This core sense, Marx tells us, is alienated from us so as to realize the ends of capitalism. Such an idea of a ‘core’ self seemingly contradicts post-modernist concepts in regards to the self, and indeed
Jameson notes that Marx’s alienated self has been changed by a post-modernist fragmented self which has no ‘core’ from which to be alienated. However, the trace of the cohesive, modernist self remains, and so there’s the potential of a self that is alienated from that trace. Indeed maybe that is the inevitable end result of the consuming society of post-modern capitalism: somewhat than the modernist core self we have at present fragmented, post-modernist, embodied selves which embrace inside their ‘fragments’ a self which will stand ‘outside’, observe and management us. To return to the supervisor – we see here an employee who spends a lot time and effort in perfecting the managerial physique, a physique symbiotic with and symbolic of the organization and thus completely different from different workers’ bodies. This managerial body is the product of the manager’s labour, an object for the specular consumption of others in the group. This is a body sure up with concepts of the self of the supervisor, and devoted to the ends of the organization and thus to capitalism. This is a body/self, in Marx’s terms, that stands ‘outside’ the producer, to confront and oppress him/her. This, I would counsel, is utter alienation, for right here it’s my physique which I, the supervisor, have constituted, and which now stands earlier than me and controls me.

Conclusion: the aesthetic of the subjectified-objectified body For Butler it’s not the matter of our bodies that matters, but how we constitute that matter. Where capitalism enchants managers into fashioning the matter of their bodies to capitalism’s own ends, where these bodies both work in capitalism’s workplaces as objectified bodies and represent and consume themselves as subjectified our bodies, those bodies become, in Marx’s terms, alienated and thus able to standing ‘outside’ the supervisor and controlling him/her. These subjectified/objectified bodies serve a selected role within the highly aestheticized world of postmodern capitalism. Where others have argued that capitalism uses beautiful our bodies as a half of the instruments of the workplace, I argue that capitalism also makes use of the

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power of the aesthetic to render our bodies into internalized forms of control. Where many employees could perhaps refuse to conform to such modes of management,
managers are unable to withstand. Stepping into the topic place of manager means putting on the swimsuit, the tie and the group, and subjecting the managerial self to the utter subjection of being controlled by that very body which, we traditionally assume, is the locus of the self.

Notes
1. The anankastic persona dysfunction is the medical name for anal retention. It is a character dysfunction characterised by emotions of private insecurity, doubt and incompleteness leading to excessive conscientiousness, checking, stubbornness and warning. There may be insistent and unwelcome thoughts or impulses which don’t attain the severity of an obsessional neurosis. There is perfectionism and meticulous accuracy and a must check repeatedly in an try to ensure this. Rigidity and excessive doubt could additionally be conspicuous (Royal College of Psychiatrists, A Glossary of Mental Disorders and Mental Health Legislation, London: Royal College of Psychiatrists, 1980). 2. In the above-mentioned examine of one of many NHS’ largest trusts, not certainly one of the 26 managers interviewed has worn facial hair, however about 20 per cent of the docs have carried out (one also wears his hair in a pony tail). Other doctors distinguish themselves from managers by sporting bow ties or different flamboyant signifiers of an authority that enables them to refuse to be controlled. The final resort is, after all, the stethoscope. three. Jameson was dismissive of Foucault and most popular a Baudrillardian explication of post-modernism, a perspective which does not contradict the arguments of this chapter, but rather assists of their development.

Part III Critical Engagements with Aesthetics at Work

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9
Critical Engagements with Aesthetics at Work: Introduction
Philip Hancock and Adrian Carr

In Part III of this quantity, the primary target shifts in course of a sequence of self-avowed
crucial engagements with the role aesthetics play within the structuring of relations of power and control both inside, and thru, work and its group. While sympathetic to the need for a more aesthetically rich environment, what unites these authors is a crucial distance that leads them to query the origins, and potential consequences, of the current fascination with the apply of organizational aestheticization surfacing inside the field of administration and group research. As such, underpinning all three of the next chapters is a normative commitment to the preservation of a mode of critique that locations on the centre of its endeavours a concern for the preservation of the human potential for autonomy within a variety of structured regimes of power and subjectification. The opening instance of this method is Astrid Kersten and Ronald Gilardi’s Chapter 10, The Barren Landscape: Reading US Corporate Architecture, which, as the title suggests, presents a critical examination of modernist company architecture within the United States. Taking its inspiration from Guillén’s (1997) exploration of the influence of Taylor’s scientific management on modernist structure, what primarily concerns the authors right here is the obvious chasm between the picture of neutral effectivity that accompanies such architecture, and what they think about to be the truth of control and order it generates. Drawing on a number of case study examples of such structure, starting from the company headquarters of a Pittsburgh-based plate glass manufacturer to a constructing within their own university, the authors deploy a critically pushed semiological analysis for example their central argument that pursuing the aesthetic of efficiency, by way of the ideas of a Taylorist inspired modernism, serves merely to further dehumanize such 135

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workspaces, reducing them to little more than summary areas of company control. This, in flip nevertheless, also generates the potential for critique on the part of those who are required to inhabit such spaces, thus offering both an consciousness of the necessity, and a web site of opportunity for, emergent strategies of resistance to the proliferation of such ‘barren landscapes’. Next, and in a chapter equally involved with the question of organizational
architecture, Karen Dale and Gibson Burrell (Chapter 11) handle critically the connection between corporate structure, alienation and id. Grounded in the emerging area of critical management research, and its considerably eclectic mixture of influences, they convey both Benjamin’s notion of the dazzle and Welsch’s explicit conceptualization of the process of anaestheticization into play as they probe the organizational sensorium, and its relationship to the constructed setting of expertise. Beginning with an interrogation of the polysemetic character of the aesthetic, and drawing out from this the idea of anesthetization, the authors lead us on a journey from the imagery of Huxley’s Brave New World, via Benjamin’s Parisian experience of phantasmagoria, to the dazzling realm of modernist organizational architecture. Here, they stop to mirror upon the politics of such structure, noting the political emasculation that the modernist style underwent during its cultural transplantation from the cultural context of European avant-gardism to the rational requirements of American cultural and materials mass manufacturing. In doing so, they expose the functioning of another political agenda, one driven by the urge to simultaneously dazzle, and anesthetize its spatial captives. This can be achieved by the over-stimulation of one sense (most probably the ocular sense) at the value of the de-sensitization of the accompanying senses, thus limiting the range of the person human sensorium. However, additionally it is famous how it is not solely those that encounter such organizations that potentially endure such a de-sensitization or anestheticization process. Those who labour in, and construct and design such places are drawn into relations of economic and political subservience that additionally anesthetizes their relationship with the world they, largely, create. Management, the authors note subsequently, is not merely involved with the administration of minds and hearts, however equally, the management of the senses – and it is this realization that important management research must arrive at whether it is to pursue, reflexively, its problem to the alienating consequences of latest organizational activity. The final chapter of Part III, and certainly of the amount, is Philip Hancock’s Chapter 12, entitled Aestheticizing the World of Organization – Creating Beautiful Untrue Things. While representing a departure from

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the theme of architecture found in the previous two chapters, it continues their important tenor reflecting on what the writer considers to be the adverse implications of the emergence of a highly managerialist style of texts concerned with the appropriation and administration of organizational aesthetics; or because the title of this collection suggests, the act of placing ‘aesthetics to work’. Driven empirically by a important evaluation of a number of examples of such texts, and theoretically informed by the work of Theodor Adorno, Wolfgang Welsch and Sjtepan Mestrovic, amongst others, on the coronary heart of this chapter is a spirited defence of what the creator considers to be the unique position aesthetic expertise and judgment is capable of contributing to the method of human emancipation, and the menace this faces from the next imposition of an organizational logic. Referring to the possible emergence of a situation of post-aestheticism such a priority revolves around a theme similar to that mentioned by Dale and Burrell, specifically that by adorning the world in company imagery, and thus reducing aesthetic expertise to ‘little extra than simply another repository of mechanically produced, instrumentally oriented codes and symbols’, it threatens both a process of cultural anesthetization, in addition to a neutralization of the important, and thus emancipatory, potential of aesthetic experience. The chapter concludes with a clear assertion of mistrust of those who champion the incorporation of aesthetic values and practices into the organizational realm. Locating the potential wrestle between the nonconceptual nature of aesthetic expertise and the rigidly conceptual, and inevitably instrumental character of managerial planning and exercise inside the broader battle between modernist rationality and the sensual, corporeal dynamic of Being, Hancock bemoans such developments as but a further example of the disenchantment of the modern world. A world that whereas increasingly spectacular, adorned as it is in its corporate livery, is concurrently rendered sterile, as aesthetic expertise is decreased to a price equivalent to that generated by way of the reception of the standardized and rationalized aesthetics of corporate group.

10
The Barren Landscape: Reading US Corporate Architecture
Astrid Kersten and Ronald Gilardi

Introduction
Architecture is historically seen as an expression or embodiment of cultural values and constructs, both existing or aspired to in a given society. Architecture can be seen as political apply, however, as an express try to vary these values, to create new constructs, or as a reflection of social relations of domination and resistance. In this chapter, we study modern company architecture in America, initially from the first perspective, ‘reading’ company structure as a material embodiment of corporate values, constructs and tradition. In doing so, we follow and elaborate on Guillén’s (1997) discussion of Taylorism, aesthetics and structure. Guillén argues that Taylorism discovered an aesthetic expression within the European modernist structure of the 1890–1930 period. He demonstrates that Taylorism was mirrored not only in the adoption of scientific management methods and rules to architectural initiatives and methods, but in addition in the improvement of a new ‘technocratic ideological strategy to downside solving that highlighted neutrality, efficiency and planning’ (Guillén, 1997, p. 687). Most importantly, Guillén argues, European modernist architects developed an aesthetic interpretation of scientific administration that emphasized ‘regularity, continuity, and speed at the expense of symmetry, ornamentation, and solidity’ (p. 691), expressed in an architecture that glorifies monotony and standardization as the brand new ideals of magnificence. While modernist structure was not adopted in the United States until the Nineteen Thirties, it has dominated the panorama ever since. In truth, the imposing, monotonous, homogenized and mechanized buildings that form the skyline of American cities have turn out to be emblematic of the ‘modern age’, of company life and of the American capitalist identification itself. At the cultural level, this architectural 138

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style expresses the dominant values of US company life, centring on Taylorist preoccupations with order, regularity, management and effectivity. At the political level, the structure becomes instrumental in maintaining this order and management. Two issues are central right here. The first deals with the position and place of human beings in the organization, whether as building or as culture. We argue that corporate design in both type has no place for humans, except in their mounted, engineered position. The trendy group, in its idealized aesthetic type, is barren – devoid of human emotion, human muddle, human irregularity, and human ‘messiness’ in any type. Thus, the preferred portrayal of corporate buildings is one that is clear, organized, impersonal, silent and above all, empty. While justified beneath the rationale of efficiency, this barren landscape hardly ever accomplishes efficiency. Instead, we argue, it is the image of effectivity that could probably be a central element in both the architectural form and in the upkeep of the structural and ideological relations of management inhabiting the form. We conclude the chapter with a brief examination of a second element of political practice, namely problems with resistance and control. Here we explore the implications of modernist architecture for organizations that seek to vary their tradition and practices and take a look at the relation between physical, organizational and informational structure. Finally, we discover alternative ways in which the occupants of organizational spaces can and do resist the imposed which means of organizational architectural design, thus highlighting the politics of reception (Barris, 1999) in addition to the politics of change.

Reading company architecture
As was suggested above, our first priority is to determine and describe the parameters by which one can ‘read’ company structure in America. We use for this function a model proposed by Guillén (1997). He suggests that Taylorism – commonly known as scientific administration, a really mechanistic approach to the design of workplace productivity1 – had a profound and long-lasting impression on the event of European modernist structure of the 1890–1930 period. Taylorism, Guillén (1997) argues, shaped not only the professional reconstruction of the discipline, but additionally the necessary thing aesthetic tenets underlying modernist design, ‘producing an unlikely synthesis between
art and the mechanical world’ (p. 683). Using an impressive array of examples and sources, Guillén (1997) demonstrates that European avant-garde modernist architects were drawn to Taylorism partly because of financial issues of cost

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and effectivity. Taylorism was mirrored first within the adoption of scientific administration methods and principles to architectural initiatives and strategies. It was reflected also within the improvement of a brand new ‘technocratic ideological approach to downside solving that highlighted neutrality, effectivity and planning’ (p. 687). He notes, however (p. 684), that while ‘cost and efficiency were socially and politically constructed as necessary issues … the romance of modernism with scientific organizational ideas and methods went properly beyond quick economic concerns, resulting in the formulation of an aesthetic primarily based on the effectivity of the machine and of scientific management’: By applying a mechanical metaphor to the design of houses, public buildings, faculties, factories, and on a daily basis objects, European modernism magnified the influence of scientific administration, extending it into new realms. If scientific administration argued that organizations and people in organizations worked, or were alleged to work, like machines, European modernism insisted on the aesthetic potential of effectivity, precision, simplicity, regularity, and performance; on producing useful and beautiful objects; on designing buildings and artifacts that would appear to be machines and be used like machines. (Guillén, 1997, p. 685) The aesthetic order that emerged from this, Guillén argues, makes use of the modernist trinity of unity, order and purity, and is defined by three main ideas: ‘Emphasis upon quantity – space enclosed by skinny planes or surfaces versus the suggestion of mass and solidity; regularity as opposed to symmetry or other forms of obvious steadiness; and lastly, dependence upon the intrinsic magnificence of materials, technical perfection, and nice proportions, versus utilized ornament’ (Barr, 1995, p. 29, quoted in Guillén, 1997, p. 685). Thus, European modernist architects developed an aesthetic interpretation of administration that emphasized ‘regularity, continuity, and pace on the expense of symmetry, ornamentation, and solidity’ (Guillén, 1997, p. 691), reflected
in an architectural type that glorifies monotony and standardization as ideals of beauty. Modernist architecture was not adopted in the United States until the 1930s. While American engineering was far forward of Europe on the turn of the century, American structure maintained a loyalty to classical, typically extremely decorative design well into the 20 th century, despite the sooner efforts of the Chicago architects. Since that point, nonetheless, modernist structure has come to dominate the US company landscape. In reality, to many people the imposing, monotonous, homogenized

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and mechanized buildings that form the skyline of American cities are emblematic of the ‘modern age’, of corporate life, and indeed, of the American capitalist identification itself. At one level, we will argue, this architectural style supplies a cultural expression of the dominant values of American corporate life, which centre on Tayloristic preoccupations with order, regularity and effectivity. At another level, the structure fulfills a political and ideological perform by becoming instrumental in sustaining this order and management. The use of space, spatial arrangements, architectural type, colours and furniture decisions are all elements that affect and form human interaction and people’s sense of self and id. Just as the imposing dimension of the old cathedrals sought to remind the visitor of the nature of his/her relation to God, Tayloristic architecture informs the corporate occupant of his/her place within the company, a spot that is not only small, but additionally designated, fixed and controlled.

Taylorism and the ‘culture’ of efficiency
What is interesting about Guillén’s understanding of a Tayloristic aesthetic as applied to the company landscape, is that it may itself be ideological. At one level, it is correct in that it displays and expresses what we’ve come to know as a Tayloristic actuality in corporate life. That is, company culture within the US persistently professes an adherence to the central
principles of Taylorism, whether or not in their authentic or revised type.2 At the same time, however, it misinterprets and distorts the philosophy and teachings of Frederick Winslow Taylor himself in numerous ways. The first of those is that, in our studying of Taylor, aesthetics of any type would not be considered essential or relevant. Taylor, who was born in 1856 and who died in 1915, was to have an infinite impression upon American company culture. He managed in an industrial setting, devised schemes by which work and work protocols could be measured and even invented a course of by which metal could probably be tempered. He described in his numerous writings and in his now famous speeches the ‘one finest way’ to run an organization. Taylor, each during his life and for many years after his demise, generated an infinite quantity of curiosity in and controversy regarding his practices and teachings. As Guillén and plenty of others have famous, Taylor was obsessive about order, productiveness and effectivity and argued that in the end, the one factor that might ensure the well-being of a firm and its employees was a managerial reality that was primarily based on these rules. In that sense, to Taylor, aesthetics weren’t an essential consideration. In fact, to the extent that organizational architecture is known today as representing corporate

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culture, values and/or aesthetics, it is fairly probably that Taylor himself would have objected to such contentions as being irrelevant and unimportant to the inner workings of a agency,3 even when that aesthetic was ‘Tayloristic’ in nature. Some might argue that the architecture of a firm influences employee productivity, and hence, architectural design is or ought to be an essential think about company decision-making. Taylor, nonetheless, believed that workers were motivated by only one thing which was money (Banta, 1993). His views on this matter were single-minded and unshakable. Employees, as Taylor understood them, had been easy, teachable and exclusively motivated by financial self-interest. The major task of management was to design a system that may allow for optimally environment friendly work design, mitigate workers’ ‘natural’ tendency towards soldiering and custom, practice employees in using this method, and inspire them in course of cooperation
by way of linking compensation with output, through a piece-work system. In Taylor’s view, not solely are aesthetics, values and cultures not related in encouraging efficiency, increasing control or enhancing productiveness. They are additionally irrelevant to his conception of the way to encourage folks. Finally, Taylor and his adherents believed that it was attainable and advisable to style an organizational system that was logical, structured and neutral as to the standard of staff, and never dependent upon individual initiative or creativity.four Thus, Taylor (1941, p. 47) in his now well-known work on scientific administration, has this to say about how organizations and the people who work in them are to be seen: Scientific Management requires the establishment of many rules, laws and formulae which exchange the judgment of the individual and which can be successfully used solely after having been recorded, indexed, etc. (Emphasis added) As famous earlier, Taylor advocated the event of a managerial system that was based mostly on scientific analysis, mounted and objective requirements, management management and cooperation. If Taylor had been to have been excited about structure of any type, it would have been the structure of managerial decision-making, not the constructing where such decision-making happened. Furthermore, such structure would most likely more intently resemble the modern architecture of organizational data techniques, subject to clear-cut rules and principles. Modernist architecture, despite Guillén’s argument, stays variable, changeable, unpredictable, artistic and particular person and in that sense, ultimately, non-Tayloristic.

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We have argued, then, that the very notion of a Tayloristic aesthetic could itself be incompatible with Taylor’s view of the office. Taylor’s private views on the matters discussed above are necessary. Even extra essential, nonetheless, is the collective understanding of what we think Taylor’s teachings are. While this understanding does not essentially sq. with Taylor’s actual pre-dispositions, in day-to-day follow, it’s these understandings – what we predict Taylor meant – that rely. And in accordance to
these understandings, Taylorism, teaches that an organization have to be efficient, orderly, and most certainly managed. To the extent that this is true, scientific management has severely influenced corporate tradition, each in its subjective forms and in its bodily expression, in the greatest way architectural area is displayed, used and modeled. These parts present us with the tools by which we will critically ‘read’ and perceive American company structure and supply us with a way to perceive its stereotypically lifeless, neutral, monolithic, in short, its barren type.

Taylor, efficiency and control
Taylorism has been severely criticized through the years (see, for instance, Etzioni, 1964; Morgan, 1986; Scott, 1995). Nonetheless, many observers consider, that Taylorism has left an indelible mark upon the American company panorama. It is unlikely that Taylor or his adherents had been or are psychopaths, devoted to the senseless domination and manipulation of a firm’s workers.5 Taylor himself was quite specific on the matter of control, arguing that management of staff was a essential element in making a firm environment friendly. Efficiency, nevertheless, was the ultimately function and the important element in making a agency worthwhile and successful. The guideline was and is this easy and simple. But has Tayloristic structure in fact assisted us to realize control, effectivity and, finally, success? We suppose not! Nor do we think that those who are responsible for the design of organizational space really imagine this both. What we do suggest is that modern architectural areas create the phantasm of effectivity and the fact of control. Organizations have a physical presence. They are housed in buildings, that are designed and decorated often with some specific aesthetic or informational function in mind. The literature on the organizational physical surroundings is somewhat limited, nonetheless. Some of this literature suggests simply that the architecture of the group expresses (or seeks to express) the organizational tradition, vision or symbolic picture of

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itself (see, for example, Steele, 1973; Schein, 1984). Thus, a bank will
often select a really different type of structure than a design agency as an example. Furthermore, the relative allocation of area and sources across organizational participants often says something about hierarchical relations within the group, whereas the overall layout of the area could specific its organization’s openness to the surface. Depending on the organizational picture and the nature of their relationships with purchasers, organizations may wish to current themselves as prosperous (or not), progressive (or not), and excessive tech (or not). In this sense, bodily type has a rhetorical as properly as an expressive perform. Finally, the nature of the bodily setting is claimed to influence organizational behaviour in that components corresponding to lighting, furniture, format and area can impact productiveness and communication. While the above perspective is obviously involved with physical type, it is troublesome to see any impartial aesthetic concern or consideration. First, the necessity for the organization to ‘look good’ appears justified solely instrumentally: it expresses the present tradition (or most popular images thereof), it impresses the purchasers and it advances the necessity for enhanced production. Organizations spend money to find a way to look good however wanting good is not essential in and of it self. It needs to perform one thing else: establish an image, impress purchasers, and so forth. Gagliardi (1990b, 1996) touches on the instrumental function of the bodily setting in noting that we should always not view artifacts are mere reflections of the culture. Rather, we should always see them as ‘primary cultural phenomena’ in and of themselves. Artifacts ‘influence company life from two distinct points of view: a) artefacts make materially possible, help, hinder and even prescribe organizational motion; b) more typically, artefacts affect our perception of reality, to the purpose of subtly shaping beliefs, norms and cultural values’ (1996, p. 568). Obvious examples of the instrumental position of artifacts – on this case, structure – are those talked about earlier, the place the group makes an attempt to projects a favourable or preferred picture through selecting a particular fashion of structure and design, thereby impressing its id on folks inside in addition to outside the organization. Modernist structure is expressive, on this sense, of Taylorism, however not in a direct sense. The structure expresses Tayloristic pondering not by creating effectivity itself (as Taylor would have advocated), however rather by creating a picture or an illusion of effectivity. It is this
picture that appears to dominate architectural choices greater than its precise impact on organizational work needs and processes.

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As a case in point, we will briefly describe the company headquarters for Pittsburgh Plate Glass (PPG) Industries, shown in Plate 5. Located in downtown Pittsburgh, Pennsylvania, this complicated of buildings sits on a five-acre site and consists of six glass-sheathed buildings: one forty-storey tower at 635 toes, 4 smaller buildings at six storeys each and another at fourteen storeys. The buildings enclose a stone plaza, which is totally empty save for a 14-foot rose granite obelisk within the centre. The entire complex was designed by architect Philip Johnson. As a visitor to the complex, one is usually struck by several impressions. One is that the architectural design may be very uncommon and striking. It has faint reminiscences of palaces and gothic cathedrals, impressions that are counteracted by its very darkish and modern appearance. The complex can be very overwhelming – its dimension, colour, reflectiveness and peak dwarf not solely the individual standing before it but also the buildings around it. Finally, the general impression is one of starkness and barrenness. While the advanced sits in downtown Pittsburgh, a really closely populated area throughout working hours, the massive plaza seems, and infrequently is, empty. Most of this is by design as neither the plaza nor the buildings round it have anyplace where individuals might possibly sit. It can be by influence although – the place diminishes individuals to the extent that one doesn’t wish to sit there, even when one could. It is simple to take a look at the PPG building and see it as an expression of the company, reflecting firstly its product – glass – and likewise the company size and prosperity. The building also expresses, nevertheless, in an nearly idealized kind, the image of the barren panorama, the company area that exists for itself solely and takes delight in its order, its regularity, its construction, its ideal-typical appearance of the trendy and efficient organization. If people are not featured in the external landscape of PPG, the inner panorama provides an interesting
additional commentary.6 Imagine having an workplace at the thirty eighth ground of the primary constructing, looking over the town at a peak of 600 ft, through walls which are barely visible, consisting of flooring to ceiling sheets of glass. While this may enchantment to some people, we now have been advised by others that it’s in reality horrifying, disturbing and distracting and that folks work with furniture placement and different devices to protect themselves from the view and that meetings held excessive up within the buildings end in people huddling in the centre of the room. Whether it is a acutely aware or unconscious response is not clear but the evident lack of comfort is quickly apparent. The PPG building in this sense is an interesting example, in that its modernist architecture could be very expressive of the corporate picture and

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product. It can be an fascinating instance because it illustrates the ‘disconnect’ between the image of order and effectivity and the fact of life contained in the image. True Tayloristic architecture, if we are in a position to conceive of such a factor, would place work wants and effectivity needs as major, not a corporate picture or projection of id. While Taylor might not have been interested in people’s sense of comfort, to the extent that a scarcity of consolation interferes with productiveness, such design becomes antithetical to Taylor’s teachings. This raises a associated issue, namely the query of viewers. Unlike Taylor advocated, it often seems that organizations spend extra money and assets on external than internal concerns. To many organizations, it’s more necessary to have an structure that looks good – that is, projects the right picture to the surface or makes a particular assertion to the inside, than one which feels good for the employees to stay and work in. One instance here is the College Centre in our personal academic establishment. This is a building that most people would argue seems very nice: it seems modern with plenty of open house, a progressive really feel, high ceilings, and tasteful colours and usually it elicits many compliments from those who visit the campus. For the folks that inhabit the area, the story is very different though. Wide hallways, staircases and a huge public square are set towards tiny faculty offices, restricted restrooms, lack of noise limitations, permanently sealed home windows, horrible acoustics and shared spaces
that dwarf the people in it. The gentle and delicate colors and materials require constant retouching and restore and haven’t withstood the overall injury inflicted by young folks utilizing any space. It is a space that looks good but feels dangerous. It reflects the preferred picture of the College but not the precise tradition or practices of the individuals in it. People if something, are thought of incidental to it at best, and distracting and destructive of it, at worst. Does it present an image of an efficient, effectively functioning organization? Yes, it does. Does it actually promote, improve, make more environment friendly or facilitate work process in the organization? No, it does not. In fact, in its relative space allocation it makes an fascinating statement concerning the importance of look versus the importance of work and often interferes with the efficient accomplishment of work. A third issue is the question of whose interests are expressed in the physical type of the organization. Taylor talked endlessly concerning the need for cooperation and the presumably shared pursuits on employers and staff in the company enterprise. Is this reflected in corporate architecture? Certainly in the above example it was not. At a more general degree, selections about structure and design are often made by

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a small and selective group of individuals within the organization whose priorities will not be shared by everybody. Hatch (1990, 1997a) adds that this will likely result in differential responses on the a part of organizational teams: For instance, an exquisite new corporate headquarters constructing could favorably impress investors (‘they should be generating nice wealth to afford such a beautiful facility’), customers (‘this type of opulence indicates real staying power’), and community leaders (‘what a fabulous aesthetic complement to the community’), while simultaneously being viewed as irresponsible by union leaders (‘that money may have gone into better wage packets’) and environmentalists (‘a little much less squandering on govt perks and extra environmental tasks might need been possible’). (Hatch, 1997a, p. 257) Strati (1990) equally reviews a study at an Italian college in which
the mathematicians for whom the brand new constructing was designed felt that its modernist and rational design was antithetical to their aesthetic image of themselves as free mathematician-artists and due to this fact interfered with their efficient functioning. The concord that Taylor advocated was in fact dependent upon individual subordination to the general pursuits and US organizations usually go to great length to ensure such subordination, amongst others by limiting individual expression of interests and style within the group. At the non-public level, organizations specify costume code, hairstyles, jewelry, skilled manner and correct types of speech. At the design stage, they specify the sorts of decorations which would possibly be and usually are not applicable to individual offices. An fascinating further instance is the latest move on the part of many companies in downtown Pittsburgh to prohibit employees from smoking in entrance of the very buildings from which they have been banned, on account of the truth that ‘it seemed unattractive’. Efficiency is hardly a consideration on this, of course. Employees now take smoke breaks that involve a long journey away from the workplace, the workplace floor, and the office building to get to the again alley the place smoking is allowed, and have a tendency to linger there, if for no different reason than that it’s a good distance back! What is recommended in the above three examples is that Tayloristic concerns with efficiency and productiveness aren’t realized in modernist architecture. The predominant concern is with a picture of efficiency that’s more illusory than actual, and grounded more in rhetorical, ideological issues than in the work-based reality of the organization. Ultimately, after all, the picture is an important one. Modern organizations are

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heavily vested in showing efficient, orderly, rational and managed for it’s this ideological picture that conceals the underlying actuality of the organization – a reality that is typically non-rational, chaotic, arbitrary, political and exploitative. As long because the organization appears to satisfy our Tayloristic conceptions of ‘proper’ organizational life, nevertheless, that reality is hid and management is completed. Control is in fact additionally accomplished in plenty of different ways, including the economic and political
relations that exist in the workplace. A Tayloristic aesthetic aids these relations, we argue, by neutralizing and concealing the character of the organizational construction. A last important consideration deals with the ideological influence of organizational architecture and design on people’s sense of self and identification, whether as employees or as purchasers. Barley’s (1991) excellent semiotic examine of funeral parlors serves as an interesting instance here. Barley points out that the closely ritualized and aestheticized tradition of funeral parlours is designed not as a means for individuals to confront the pain associated in our culture with the demise of loved ones. Instead, it is designed to contain and limit emotional expression by making demise appear as if sleep and by presenting an aesthetically pleasant bodily picture, both by way of interior design and thru bodily manipulation of the dead individual. The aestheticizing of the method on this case fulfills an anesthetizing perform, placing the true, emotional, and sometimes unregulated means of grieving outside the organizational context. This allows the group to manage and management the process and to look orderly and efficient, thereby meeting its own needs rather than those of the shopper. Another example of that is the type of inside design we usually see in US health care facilities where ladies get mammograms. The ready rooms – and one spends lots of time waiting in these locations – are designed in methods which are thought-about tasteful and pleasant by typical standards: gentle colors, rounded shapes, delicate carpets and materials, soothing pictures of flowers and different issues of nature, all with heavy ‘feminine’ overtones. The overall impression is complemented by small, caring touches such as the provision of natural teas and decaffeinated espresso. The softness and blandness of the design stands in sharp contrast to the stark look of the examination rooms, which of course are designed to convey the normal scientific, goal, and hence dependable picture of the medical occupation, thereby creating its personal ideological positioning of the subject. The waiting room design additionally stands in sharp distinction to the psychological and physical agony usually experienced by women in the examination course of. In this sense, the room serves not

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only to sooth women and to give some affirmation of the ‘shared feminine’, even though it may be hard for some to relate to the best way by which the feminine is offered there. It additionally serves to deny the far more disagreeable reality that’s at the heart of the go to itself. It is an attention-grabbing train to imagine these areas redesigned in a way that might extra overtly and truthfully hook up with the reality of the expertise, a minimal of from the client’s perspective. One of our colleagues just lately underwent a radical mastectomy and constructed an art exhibit around the graphic art she produced in the time period coping with the most cancers and the operation, and earlier than and after pictures (Lampe, 2001). Imagining such an exhibit in the ready room would create a really different aesthetic picture and also afford artwork a different position in the course of. The argument, of course, is made although that the organization’s purpose is most likely not to confront girls that directly with the reality that constitutes the very reason for their visit, particularly the possibility that they could have breast most cancers. The organization’s purpose is a extra controlling one which seeks to reduce both the conclusion and the expression of emotional pain throughout the state of affairs – a objective that’s completed each by the ready room design and by the examination room design, albeit it very in another way. Modern organizations do not ‘do’ emotion, especially not uncontrolled, disagreeable emotion and go to nice size to masks, structure, suppress and manipulate emotional expression (see, for example, Fineman, 1993). Architectural design enhances this management by way of creating the picture of efficiency and through the influence of this picture on staff and shoppers. In short, organizational structure fulfills an instrumental perform by the way in which the picture of efficiency controls individuals: the means in which it defines, locations, controls and contains them, physically as well as symbolically. This is not solely an exterior impact process – individuals turn into complicitous in that they internalize the photographs round them. Thus, Gagliardi notes that organizations by way of artifacts educate and shape our perceptive colleges, our ‘sense of style, of odor, of contact, of hearing, in addition to sight’ (1996, p. 573) growing in us a selected sense of what’s applicable, aesthetically and otherwise.

Resisting the barren landscape
The previous section of the chapter argued that a crucial reading of corporate architecture reveals its ideological perform of management. While the dominant image is portrayed as one of order and efficiency, rooted historically in Tayloristic thinking, its precise functioning is way less

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concerned with effectivity and rather more with management. The dominant picture thus produces a view of the organization as orderly, structured, predictable, routinized and glued, whether or not or not that is acceptable to office needs, actual organizational processes or the human expertise. In this sense, Tayloristic architecture and design not solely distorts Taylor’s authentic pre-occupation with structuring particular person and organizational processes to perform optimum efficiency and productiveness. It additionally distorts and masks the ‘experienced actuality of organization which operates to provide a comforting sense of safety and, at the identical time, to defer motion which can threaten the status quo’ (Carter and Jackson, 2000, p. 180). Ideological and political practices, nonetheless, are by no means easy or singular. Forces of maintenance and management are at all times linked to forces of change and resistance and we’ll briefly define a number of the key factors of this connection in this last section. First, we’ll discover the implications of modernist structure for organizations that search to change their culture and practices. Here we are going to have a look at the relation between physical, organizational and informational practices. Second, we’ll discover other ways during which the occupants of organizational areas can and do resist the imposed meaning of architectural design. Organizations and the theories we develop for learning them undergo steady changes. Thus, Guillén (1997) wonders if other organization theories could have a similar potential for aesthetic influence and interpretation as scientific administration. There have been some efforts and developments in that course. Steele for example (1973) argued, fairly some time ago, that efforts towards organizational improvement that did not additionally embody adjustments within the physical construction of the organization had been doomed to failure. Also, we have
some examples of innovative corporate structure that seek to specific a unique organizational actuality. Some local examples in Pittsburgh embrace the Alcoa building that was designed to mirror a flat, open, studying organization type of environment, with equal house assignments for all employees, regardless of position or degree, and moveable, flexible partitions (The Design Alliance Architects, 2001) to a ForeSystems (now Marconi) constructing that via its slanted shape sought to mirror the organization’s non-conventional, non-linear, ahead trying view of the world. Whether or not these architectural efforts are profitable in creating or reinforcing an alternative reality stays to be seen although. The ‘open office’ or office landscaping movement of the 1970s for example was originally heralded as a bodily expression of the significance of openness, communication, egalitarianism and connectedness.

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Its implementation, nonetheless, has produced very mixed results. The open office proved to be very prone to enhanced surveillance and management motivations on the part of administration. Empirical research didn’t consistently reveal enhanced communication on the a half of occupants of open offices. Also, the actual use of the space usually led to a reinstituting of hierarchical relations and constant attempts on the part of staff to recreate a way of privateness and containment that opposed the open office best (see Hatch, 1990, for an in depth dialogue of the factors and variables involved in open office space negotiation). One of the variables that might seem to be essential right here is the extent to which the architecture is an actual quite than a rhetorical or ideological expression of the organizational tradition. While many firms may profess an acceptance of or adherence to the rules of the training group, for instance, the structural reality of the organization hardly ever conforms to this sort of considering. And even inside studying group principle, we find many contradictory and unresolved problems related to organizational hierarchy which are bound to result in cultural and architectural contradictions (Sidky
and Kersten, 2000). At the person degree, one of many key ideological impacts of organizational aesthetics lies within the strategy of subjectification, the ways during which it defines, shapes and controls individual identity to be small, regular, predictable and substitutable. Ideological subjectification also features to silence different identities and existences. As Carter and Jackson (2000) observe, the extent which organizational members ‘accept the created aesthetic as a definition of the appropriate response to an organization’ is also ‘the extent to which we abdicate or deny our own capability to formulate a response. Acceptance, intentional or unintentional, means that, as people, we settle for anaesthetization’ (p. 195). Here it’s tempting to view the organizational employee solely within the function of aesthetic shopper, who each absorbs and is absorbed by a completed and reified product that’s the organizational architecture. However, even organizational tradition is a possible battleground ‘where numerous political and ideological causes engage one another’ (Said, 1994, p. xxii). Employees and others participating directly or not directly in the organization have to be seen as (potentially) engaged spectators, active members in the building of organizational actuality – a view that highlights the politics of reception (Barris, 1999). Mazumdar and Mazumdar (1997) supplies an interesting ethnographic research of the politics of reception in relation to Iranian structure. They

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examine the way by which architectural design enacts power, status and conflict, but additionally how architectural options can assist in the survival and preservation of a group’s cultural identity and thus be symbolic of resistance. In phrases of US company workplace behaviour, much less is thought about this course of. Several things are value mentioning although, just when it comes to our personal private experiences. First, different groups of individuals tend to respond in a different way to totally different areas. The visitor to campus ‘feels’ the area in one other way than its occupant. Some occupants are in control of their areas whereas other organizations have elaborate guidelines and restrictions on the ways in which they might and should not alter the house they inhabit. While employees might try and personalize the space, making it
appear and feel much less barren, erecting limitations for privateness, blocking up windows and doorways and so forth, organizations typically regulate these makes an attempt under an ‘aesthetic’ heading. This highlights not only the differential means during which the aesthetic is perceived but in addition the politics of reception. Furthermore, it illustrates the centrality of management somewhat than efficiency. Employees rarely resist management makes an attempt at change that they will understand and see as rational enhancements of efficiency and productiveness. However, they often resist administration modifications that seem at whim, irrational or solely there for private or company control wants. A associated space has to do with political notion of space. This might be the one concern that has been researched pretty extensively, notably because it pertains to the political which means and utilization of area, house as a power image, and structure as a potential expression of the hierarchical construction of the organization. The function of resistance in this process is less clear although, confined principally to horizontal in-fighting for space and desire for vertical mobility. Different stakeholders additionally present differential politics of reception. One of the large medical health insurance companies in Pittsburgh opened a new office constructing downtown a few years ago. From the attitude of the company administration and its staff, the building was a testimony to the company’s stability and well-being, expressing prosperity, modernism and ‘good taste’ in all its massive and small features. To the average individual collaborating in the company’s health plans, nonetheless, it was an announcement about exploitation and waste that flew instantly within the face of the company’s rhetorical statements about the want for cost-cutting gadgets. Just as shopper activism has formed US company awareness around problems with security, greater activism on the part of completely different stakeholders round corporate architecture may also prove to be an efficient resistance to organizational expressions of management.

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Conclusion
Guillén (1997) notes that ‘people appear to yearn for beauty as intensely as
they pursue instrumental strategies and morally acceptable conditions’ (p. 700). In this chapter, we’ve advised that Guillén could be proper, but that corporate structure, as it has advanced in America, isn’t responsive to this yearning. Scientific management, or no less than what we consider is scientific administration, has left a residue of sterile work places. These places model house in order to create the illusion of efficiency and the reality of control. In both case, the result is a barren panorama. Landscapes, nevertheless, can and ought to be challenged, by the people that create them, the folks that inhabit them and the people that examine them. It is hoped that this chapter makes a contribution to this challenge by offering a crucial reading of US corporate architecture that highlights text and subtext, appearance and reality, current and risk.

A postscript
Earlier in this chapter, we suggested that the exterior of PPG headquarters might be thought-about as an archetype of a sterile, barren architectural setting in corporate America. Since presenting this chapter in July 2001, a radical and pertinent change to this similar architectural space has taken place. In late August 2001, the house owners of the PPG Plaza announced that this similar exterior space could be converted into a massive ice skating rink within the winter months and a computer-choreographed fountain during the relaxation of the year, retaining the obelisk within the centre of both options. When the ice rink was opened in December 2001, most of the people response was favourable, although a number of people commented on the irony of placing an ice rink in front of a constructing that is popularly referred to as the ‘ice palace’ and plans still do not comprise both seating or planting arrangements. Clearly although, the adjustments are meant to ‘humanize’ the appear and feel of an in any other case featureless and stark place. While the extent to which this effort succeeds is but to be determined, it is attention-grabbing to note that apparently others ‘read’ this area in a lot the same method as did the authors.

Notes
1. For our purposes, the phrases ‘Taylorism’ and scientific management shall be used interchangeably to check with a generally held set of beliefs that pervade
American company tradition, dominated primarily by notions of effectivity, productiveness and rationality. While this set of beliefs originated with Frederick

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Winslow Taylor, we’ll argue that it has been altered significantly in follow. The term scientific management was not coined by Taylor, but was actually introduced into the corporate and popular lexicon by Louis Brandeis in 1910 who used this term in a court proceeding regarding the introduction of Taylorism into the workplace and the following battle and violence that erupted in the factories and other work websites. Brandeis was to turn out to be, in later years, a member of the United States Supreme Court. Taylorism may be summarized in the following rules: 1. ‘The cornerstone of scientific management is prosperity for the employer and worker. The principal object of administration ought to be to safe the utmost prosperity for the employer, coupled with the utmost prosperity for each employee’ (Taylor, 1895, p. 9, quoted in Freeman, 1996); 2. Management ought to tackle new responsibilities, together with first, creating ‘a science for every factor of a man’s work, which replaces the old rule-of thumb method’. Second, they ‘scientifically choose after which train, educate, and develop the workman’. Third, they ‘heartily cooperate with the lads so as to insure all the work being done in accordance with the ideas of the science which has been developed’. Finally, there ‘is an virtually equal division of the work and the responsibility between the management and the workmen. The administration take over all work for which they are better fitted than the workmen, while up to now almost all of the work and the greater part of the accountability were thrown upon the lads ‘ (Taylor, 1895, pp. 36–7, quoted in Freeman, 1996, p. 37). The Taylor Society revised these principles in 1929 to permit them to be utilized to a broader context, emphasizing: administration research as the one sound foundation for the solution of administration issues; management requirements to ‘replace probability and variable factors by constants’; management control, based mostly on systematic procedures and defined requirements; and cooperation together with the ‘recognition and capitalization of human variations, motives, wishes and capacities within the promotion of a standard purpose’ (Taylor Society, 1972, pp. 10–11; Freeman, 1996). Taylor was not
a lot thinking about the way in which the exterior world interacted with, influenced, or was influenced by an organization. He represents, in this regard, the archetypal proponent of ‘closed’ methods strategy to management. Employees, in such schemes, are interchangeable; it’s, after all, the system that counts. If correctly implemented, the organizational system anticipates the generic expertise and limitations of an individual and corrects for his or her deficiencies and/or idiosyncratic tendencies. In a very actual sense, such a scheme resembles intently a computer-based algorithm. Outputs are predictable and engineered and errors are anticipated and dealt with. Actually, some have in reality argued that Taylor’s pre-occupation with order and structure was a mirrored image of psychological imbalances and issues, however for our purposes Taylor’s psychological health is much less of a priority than the impact of his teachings on the functioning of organizations. Part of the complex is rented out to external outlets and restaurants and isn’t part of the company area. Another part is devoted to what’s referred to as the Wintergarden and offers an atrium-like house for botanical, cultural and artwork exhibits.

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An-Aesthetics and Architecture
Karen Dale and Gibson Burrell

Labour produces works of wonder for the rich, however nakedness for the employee. It produces palaces, however solely hovels for the employee; it produces beauty, however cripples the worker; it replaces labour by machines but throws a half of the
worker again to a barbaric labour and turns the other half into machines. It produces culture, but in addition imbecility and cretinism for the employee. (Marx, 1844/1972)

Overview
We contemplate it necessary to take a look at the constructed environment from the standpoint of critical administration studies and ask how buildings contribute to the ideological, political and economic constructions of domination. The chapter begins by asking what is meant by ‘aesthetics’. Using the work of Wolfgang Welsch (1997) and acknowledging his dependence on Theodor Adorno (1991/2001) we can see how polysemous the concept is. But hidden away in Welsch are a only a few but suggestive references to ‘anaesthetics’. The chapter, in part, seeks to develop this notion. Using Huxley’s Brave New World we will detect throughout the Foreword what’s tantamount to an ironic manifesto for anaesthetization. We evaluate aesthetics with anaesthetics in the context of architecture and try to level out how the ‘dazzle’ (Benjamin, circa 1930s/1999d) of buildings is commonly accompanied by desensitization of those who reside and work within them. This is to say that almost every aesthetic growth is matched with an anaesthetizing one. Sometimes this is only at the stage of the person sensorium but often those who designed the dazzle, those who produced the dazzle and individuals who offered the raw supplies for the dazzle face intense desensitization in order to produce the ‘phantasmagoria’ of 155

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which Walter Benjamin (circa 1930s/1999d) spoke. The chapter critiques an article by Mauro Guillén (1997) who sees Taylorism as an aesthetic and in so doing offers temporary consideration to the ‘zero architecture’ (Banham, 1986) of Albert Kahn’s factories and the work of Skidmore, Owings and Merrill whom are seen as the ‘utilitarian heirs’ to Kahn, within the realm of office design for corporate capitalism. Whilst corporate homeowners might well see these buildings as ‘phantasmagoria’, for those who work in all of them that’s supplied is anaesthesia.

What is aesthetics?
Wolfgang Welsch (1997) maintains that ‘the aesthetic’ is a polysemy in that there is all kinds of usages of the term circulating which, though inter-related, do give one quite distinct perspectives on the topic. Some of these are as follows: The measurement and appreciation of the attractive – callistics; The appreciation of fine design and that which supplies good kind, i.e. cosmetics; The capacity to makes a harmonious appealing complete from disparate components; The capability to understand contrasts between contiguous parts, e.g. colour; The appreciation of the sensuous – that which appeals to all the senses; The appreciation of that which requires the higher cultivated senses; That which requires perceptiveness somewhat than sensateness; That which requires time to understand and is past the immediacy of the moment; That which issues itself with phenomenological appearance and not substance, and The capability to draw all the above elements into one piece of inventive creation. We discover this beneficial as a method of gaining purchase on the slipperiness of the term ‘aesthetics’, however what we find even more useful is a really minor point hidden away within the e-book. Welsch goes on, in a single or two isolated spots within the textual content (1997, pp. 25, 72, 83), to boost the problem of the ‘double figure’ of aesthetics and anaesthestics. Is he suggesting then that the alternative of aesthetics is anaesthetics? Partly. This level is also made partially by Antonio Strati (1999, p. 81). Aesthetics, says Strati,

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is the knowledge given to us by our sensory organs and is expounded to the stem of the Greek verb ‘aisth-’ which means ‘to feel’. It is thus very totally different from theological disputation about meaning. It may be seen, says Strati (1999), as ‘the sensibilities activated to assist people observe, just as anaesthetics … is the means whereby the sensory amenities are blunted, and one of these means could additionally be art’. In other phrases, artwork might stimulate sensibility into insensibility by transforming the ‘everyday’ into the ‘special’ by decoration, hedonism and the creation of phantasm. ‘These are methods to “anaethetize” organizational actors and thereby render them insensitive and fully unable to grasp organizational life’ (1999).
So, for Strati, ‘whilst aesthetics sharpens the sensory faculties [sic], anaesthetics dulls them [sic]’. Welsch (1997) too, says that continued pleasure leads to indifference. Over-stimulus offers way to the nervous system shutting down, nothing appears beautiful anymore and the sensuous gives approach to desensitization. The globalization of the aesthetic signifies that ubiquitous beauty loses its enchantment and its meaning. If magnificence is in all places it could even turn into terrifying. But at this level Welsch differs from Strati. For, to the extent that a quantity of of the senses is stimulated through an aesthetized stimulus it is implied that a quantity of of the remaining senses is anaesthetized. Welsch sees the human sensorium as a bundle of different senses undergoing differing levels of sensory stimulation whilst Strati rolls all of them in together. The privileging of the visible, we might infer from this, can result in the fear of lack of perceptive feeling in the auditory or the olfactory senses. Anaesthetization thus can turn out to be one way of surviving the phobia of partial stimulation or overstimulation of the senses and of perception. We want to take the concept of anaesthetization considerably further and infuse it with extra of a political flavour than one finds in Welsch and with a non-Stratian conception of the human sensorium as being heterogenous in form. In this, we take the pressure of the argument developed in the sixteenth century by Loyola in appealing to all of the 5 the senses of the whole inhabitants in encouraging those Catholics, through excitation of their whole sensorium (at completely different times) to attend Church and thus reject the Reformation because it was so depleted in its sensateness. We hope you’ll bear with us as we interact on this thought experiment, taking as our focal centre, the follow of structure. First nevertheless, it could be useful to have anaesthetization described for us in graphic type. Aldous Huxley’s Brave New World (1932/1997) has within it clear and shocking descriptions of buildings and their features. Indeed, the

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book begins with an architectural reference. It establishes the modernity of the future in which it is set by asserting ‘A squat grey building of only thirty-four storeys’ (p. 1). In the Foreword of the 1946 edition, Huxley
presciently sees the nice significance of Los Alamos to the postwar world. He says (Huxley, 1946/1994): The most important Manhatten Projects of the longer term will be huge government-sponsored inquiries into what the politicians and the taking part scientists will name ‘the downside of happiness’ – in other words, the issue of constructing individuals love their servitude. The downside of happiness might be solved, he argues, by better methods of conditioning, the project of human beings into their correct place, a more pleasurable and fewer dangerous drug than gin or heroin through which individuals could take holidays from actuality and a foolproof system of eugenics. We take this to be an ironic manifesto for anaesthetization. Below, Huxley describes a conditioning course of in which khaki dressed, delta class infants learn to show away from aesthetic experiences: the infants at once fell silent, then started to crawl in the direction of those clusters of modern colors, those shapes so homosexual and sensible on the white pages. As they approached, the solar got here out of a momentary eclipse behind a cloud. The roses flamed up as if with a sudden ardour from within: a model new and profound significance seemed to suffuse the shining pages of the books. From the ranks of the crawling infants came little squeals of pleasure, gurgles and twitterings of enjoyment. (Huxley, 1932/1994, p. 17) Then ‘there was a violent explosion. Shriller and ever shriller, a siren shrieked. Alarm bells maddeningly sounded. The kids started, screamed: their faces had been distorted with terror’ (1932/1994, p. 17): ‘Offer them the flowers and books again.’ The nurses obeyed: however at the approach of the roses, on the mere sight of these gaily-coloured images of pussy and cock-a-doodle doo and baa-baa black sheep, the infants shrank away in horror. (Huxley, 1932/1994, p. 18) And while, in fact, Huxley was describing a world of the longer term from within the context of the early Thirties there have to be an actual sense in which

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the anaesthetizing course of inside our schools and universities today attempts to distort with terror the faces of those exposed to the ‘hardships’ of reading tough books and of appreciating the non-human world as if it was of equal significance to the human one. Even Alphas and Alpha pluses within Brave New World require regular escapes into an anaethesized existence
via the taking of a gramme of stupefying ‘soma’. So what Huxley offers us is a description of a dystopian world during which anaesthetization is actually ‘the order of the day’. He sees essential connections between the structure of this dystopian world and its makes an attempt to make people love their servitude. And the tradition of the society (based largely on imagery drawn from Fordist America) is one by which many of the aesthetic pleasures of the world cease to be on offer and are replaced by the anodyne anaesthetization of the populace via class-based indoctrination and the biochemistry of management. Clearly, in widespread understanding, being ‘anaetheticized’ means now not being sensate to the world around. It is a form of excessive desensitization to exterior and internal stimuli. And this distinction between internal and outer world is necessary. For are we speaking right here of the individual’s capacity for interest in and ability to seek out the aesthetic being impaired by some form of ‘soma’? Or does it imply that the ‘anaesthetic’ social order does not knowingly present any aesthetics for the population to enjoy? Is this then an individual or collective issue? Now the reader may even see this as a false dichotomy, but the questions asked and solutions given depend in large measure on the extent of study that one begins from. Thus anaesthetics might imply a situation in which magnificence couldn’t be appreciated or that there was nothing lovely in the surroundings to truly respect. Thus the equivalent of an individual, phenomenologically primarily based evaluation would produce workers, allow us to say, who couldn’t respect magnificence, sought no underlying kind or wholeness in what they did, whose senses have been dulled and whose higher senses were not developed, whose perceptiveness was dulled by lack of time and whose interest in the external was very low. The materially based equivalent of a social situation similar to alienation and the attendant masking of actuality would produce an image of anaesthetization as there being nothing lovely to understand, no sense might be made because of the group of non-integrated elements, which additionally rendered cosmeticization futile, that perceptions have been artificially lowered by ideological management mechanisms and staff had been time starved to be able to deprive them of the opportunity to suppose. In Brave New World gammas and epsilons are portrayed as precisely this: anaesthetized drones.

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This does not exhaust the range of prospects, in fact, for there might be at all times the likelihood that what passes for aesthetics and anaesthetics relies upon explicit class-based energy sustaining frequent understandings of what is meant by the ‘cultural’. Does anybody ask the gammas and epsilons what they discover beautiful? A rejection of the problematique of aesthetics will be the most constructive method ahead for giant sections of the inhabitants. But nonetheless it is important to recognize that the aesthetics/anaesthetics dualism does raise many related questions for critical management research. Elsewhere (Burrell and Dale, in press) we have argued that critical administration studies must be rather more aware of the importance of the constructed environment and the methods by which management is involved in the constructing of energy, the constructing of consumption, the constructing of manufacture and the constructing of administration. This doesn’t imply that we are interested solely in the buildings of buildings, however rather in the constructing of the social through buildings. In the current paper, we shall give attention to that cultural product generally recognized as structure and ask in what circumstances does the aesthetic/anaesthetic dualism come into play? When do buildings produce an aesthetic experience of the type Benjamin describes in his Arcades Project (Passagenwerk, circa 1930s/1999d) as phantasmagoria? And when do they produce a form of anaesthesia? If anaesthesia, put merely, is concerning the suppression of the sensate, phantasmagoria are about the excitation of the senses by way of the floor lustres of gorgeous aesthetics used to encourage consumption. The authentic phantasmagoria in the nineteenth century have been back-lit projections (and, it could be very important notice, were not mere reflections) of ghostly photographs, onto a screen, that the audience couldn’t detect the provenance thereof. They have been brilliant engaging projections that entertained and amazed audiences. They had and have (for we shall argue that they are still to be found) an aesthetic impact on the crowds for which they were designed. The time period turns into generalized in Walter Benjamin’s work to mean any misleading image designed to dazzle (Burrell and Dale, in press). How then, particularly in the realm of architecture, does Benjamin’s notion of phantasmagoria relate to a type of Welsch’s anaesthetics? How does the
encouragement of a brightly lit dazzle sq. with desensitization of the subject? First, we must observe the emphasis on the seen. The primacy of the visible within the human sensorium is a crucial part of Benjamin’s strategy. As Welsch notes, to over-stimulate one a part of the sensorium is to under-stimulate the opposite senses. Thus it is quite simple to see that

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dazzle and desensitization can go collectively in terms of human sensateness. In the presence of bright lights one hears less. But we should note that we’re talking here of the single sentient human being. There is more to this than that single level. Second, it may nicely be that certain social beings are dazzled and happy by an aesthetic expertise. But at the value of the desensitization of those who serve them in the identical area. One wants only to suppose about aesthetic labour (e.g. Hancock and Tyler, 2000) and emotional labour (Hochschild, 1983) to see that the aesthetic experience of flying or getting into Disneyfied areas is at the price of the self-anaesthetized labour of others. Here we’re suggesting that one type of anaesthetic used is by workers supposed to have interaction in emotional labour however who want to change off throughout work (Hochschild, 1983; Fineman, 1993). Third, the chance exists that dazzling ‘glass-roofed, marble-lined elegance’ is a type of aesthetic experience that’s predicated in a method or another on the desensitization of these performing at a distance from the lights, those that provide the labour energy to achieve the supplies for this aesthetic expertise. In other words, maybe the glass manufacturing unit staff are solely provided anaesthetized labour, for sensory deprivation is an integral part of their building and the technological processes that go on inside it. And so too of the back-breaking work on the quarry where the marble is hewn. Fourth, the professionals who goal to provide phantasmagoria (and on this case we discuss with architects) must search to act as dazzlers. However, they are constrained of their artwork by economics, politics and the facility of the shopper. Only signature architects who engage in Art Architecture may come near producing beautiful lustres, but for them, a variety of the time, and for the journeymen and ladies of the career, more usually than not, compromises have to be made. Professional architects desensitize themselves from not being
in a position to deliver what they need as a full aesthetic expertise. Every architect-designed space is, to a larger or lesser extent, a compromise with price and context in which the aesthetic best is misplaced. Thus structure is a profession that’s anaesthetized, as properly as aestheticized, from the outset. Architects cannot seek the total achievement of magnificence. Rather, they might should observe fashion set for them by their clients, who themselves have different and dynamic needs related to the human sensorium. Therefore, to dazzle requires desensitization of the individual who is dazzled, desensitization of those who labour to produce the dazzle in the identical place, desensitization of those who produce the material to dazzle many miles away and desensitization of those that produce the

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designs for the dazzle. Aesthetic labour must even have anaesthetic labour. And this is where, at long last, management is obtainable in. Aesthetics and anaesthetics are both a matter of the management of the senses. When Chester Barnard mentioned in 1939 that management was as much an issue of aesthetics as it was of rationality, he participated in a means of the managerialization of aesthetics. The separation of thoughts from the senses, of important cause from sensible purpose, of sense from sensibility might seem like a progressive splitting off, for it presents a world by which there are respectable various readings to that derived from purpose and rationality. In a problem of the journal Organization (1996), on aesthetics and group, the authors seemed to share a perception that aesthetics supplied a parallel interpretation to that derived from managerial rationality and that this must be analysed as an different to managerialism. What is superb, of course, (to us at least) is that the vary of human senses supposedly being utilized in aesthetics – the sensorium – might be seen as remaining untainted by – as unbiased from – managerial management. The body-in-space is a target for management, self-discipline, dressage and indoctrination. To assume that it stays a free spirit, outdoors of the pull of capitalistic rationality, is a triumph of optimism. The interiorisation of energy flows and the manipulation of the sensorium are totally ignored in a lot treatment
of aesthetics and group. The current style for, and accompanying valorisation of, clear openness in organizational life is reliant upon an obvious manipulation of the human senses and what is to be welcomed by them. The seen is ‘seen’ [sic] because the valued. Organizational life, then, is undertaken inside a constructed surroundings during which the human body and the sensorium are placed. But we all know that the notion that space is empty and is stuffed by the human physique isn’t a really social one. It is much better to see the space we inhabit as created by us and by the wants of our enfleshed skeleton. In order to show this social development of house, we need to spend a little time discussing an article from Administrative Science Quarterly (Guillén, 1997) that makes an attempt to widen the talk on Taylorism by suggesting that Taylorism was an aesthetic best that spread around the globe. We wish to argue that it may well have been an aesthetic for the capitalist lessons because it offered to them a wonderful shiny phantasmagoria of what could be achieved by environment friendly mass manufacturing, but for the labouring classes it represented anaesthetization by dulling the senses of those that labored in factories using such principles. The buildings of Albert Kahn, for instance, allowed for employee desensitization to the presence of ‘zero architecture’ inside and outdoors his factories, factories in which Taylorism and Fordism have been to assemble apace.

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Mauro Guillén (1997) had an article printed in Administrative Science Quarterly entitled ‘Scientific Management’s Lost Aesthetic: Architecture, Organization And The Taylorized Beauty Of The Mechanical’. It is value contemplating this piece, we’d preserve, for it throws into aid the ‘an-aesthetic’ stance we are to tackle the connection between house, architecture and organization. In some ways it’s an exemplary article, subtle in its understanding of Europe, historically aware and thinking about cultural issues. He seeks to show that the aesthetic ‘modernists’ in European architecture had been highly influenced by Taylorism and saw in it a magnificence that latter-day critics, significantly within the social sciences, haven’t. Guillén (1997) claims that these modernists, corresponding to Gropius, Mies van de Rohe and Le Corbusier, noticed in Taylorism and Fordism
‘beauty with technical, economic and social efficiency’ (p. 683). Here, immediately, the reader confronts several problems. Nowhere in the article is aesthetics defined. The stage of complexity in defining the time period with which we started this chapter is completely absent in Guillén. He only appears at ‘architects and different artists’ who mix ‘beauty with technical, financial and social efficiency’. There is, due to this fact, a certain tendentiousness in the approach that he takes from the outset! He claims that European architects of a modernist persuasion discovered an aesthetic message in what was happening in the reorganization of production in the USA. Nowhere does Guillén reveal that the European modernists waxed lyrical concerning the future on what they’d seen of Scientific Management’s concretization within manufacturing facility partitions, solely on the idea of a dozen or so grainy photographs. What he fails to comprehend is that they seldom visited the USA on this interval and far of what they thought they knew was derived from poor high quality snapshots. Gropius printed North American photographs in 1913, but only visited the USA in 1928; Le Corbusier borrowed these pictures in 1919 and went to the USA in 1935 (Banham, 1986, p. 9). It could be very stunning that Guillén doesn’t decide up on this as a result of he certainly references A Concrete Atlantis by Reyner Banham (1986) who claims that the work of the European architects within the modernist tradition did copy from American industrial prototypes and models however that: ‘it must be the primary architectural movement within the history of the art based virtually solely on photographic evidence somewhat than on the ancient and beforehand unavoidable strategies of non-public inspection and measured drawing’ (Banham, 1986, p. 18). It is an odd aesthetics, perhaps, that is based mostly on grainy images quite than first hand impressions. These aesthetics, we would surmise, had been actually within the eye of the (non-) beholder. From the space conveyed by way of the photographic medium, not only did the European

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architects not have material information of the design and development (discussed in Banham, 1986, p. 18), however they also had no social information of the arrangements and relations of manufacturing that truly guided the development of such architectural varieties. It was a curiously ‘externalist’
appropriation that was facilitated by the distancing, singular imaginative and prescient of an optocentric aesthetics. Venturi, Scott-Brown and Izenour (1972, pp. 92–3, mentioned in Banham) emphasize that Le Corbusier ‘claimed the steamship and the grain elevator for his or her varieties quite than their associations, for their simple geometry rather than their industrial lineage’. Banham adds that this adoption of the economic ‘style’ was symbolic: these buildings appeared to suit the values of the modernist credo with their useful honesty, structural financial system and being updated but hinting of a futuristic technological utopia. This summary and abstracted aesthetics highlights the controversial nature of Guillén’s notion that the ‘outcomes’ of scientific administration may not all have been seamy and unsightly. Clearly if one was an industrialist then this would possibly nicely be true. Even some scientific managers might have welcomed and embraced the model new managerial regimes. Nowhere, however, is the elision between Taylorism, Fordism and Scientific Management confronted. If they were and are separate entities then one has to treat them accordingly. Homogenising them into one class serves little objective if one wishes to grasp their dynamics (Littler, 1982). As with the European modernists, Guillén also appears to be utilizing aesthetics to justify the avoidance of an understanding of the social relations of manufacturing. Elsewhere too, Guillén (1997, p. 688) appears to search out issue in the notion that these great architects have been solely too well conscious of the needs of corporate purchasers. The possession of avant-garde credentials does not necessarily mean that these talented individuals would take sides against individualistic, mechanistic and engineering based fashions. After all, these models were sweeping Wilhelmine Germany with their promise of navy and industrial success. Why, we might ask, does Guillén find this consanguinity of the avant-garde with capitalism so troubling? It is simply to arrange the dialogue that follows. There is a nonquestion to which he offers a solution. He is right to say that we now have uncared for aesthetic points in Organization Theory but he brings his discussion into being by dissembling about an apparent politico-economic rationalization for the motivation of these leading ‘Art-Architects’. They sought shoppers who might and would willingly assist their work. Most importantly, however, the issue of Guillén’s concentrate on the main figures of architecture, these ‘Art-Architects’ (Upton, 1998,

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pp. 262–4), means that he utterly ignores the ‘journeymen’ of the architectural profession who, whilst they don’t have creative pretensions nor skills, are but well served by the Art-Architects in the daily business of creating a residing. He asserts that things that might be seen as stunning are aesthetic in some goal sense and due to this fact the ArtArchitects themselves legitimize these types of cheap industrial building by discovering beauty in them. Upton (1998), nevertheless, observes that ‘the conspicuous minority of art-architects bolsters the place of the vast majority of strange practitioners by producing new forms to resupply the professional’s visible inventory … imbuing the complete occupation with the cultural status … of art’ (p. 263). Thus our argument is that Guillén’s piece is to be welcomed for introducing the debate on aesthetics in architecture into the mainstream of group concept but that it fails to know the specific variations between explicit clients for tasks and in the end opts for a view which privileges that of elite culture and elite capital in its assumptions about aesthetics. From a worker perspective we would hazard a guess that the factories dedicated to Taylorism and Fordism, as built according to Kahnism, had been places of anaesthetization and zeroes: zero stimulation; zero time for contemplation; zero encouragement of perceptiveness; and, zero architecture. And subsequently we flip from the ‘externalist’ perspective of the aesthetics of contemporary industrial building, to contemplate the ‘internal’ dynamics of the production of those key areas of twentieth century capitalism. Born in Germany in 1869, Albert Kahn excelled within the design of buildings for mass manufacturing. The construction of single storey buildings covering many acres, illuminated by noticed tooth roofs was his trademark. What he developed by way of his firm was no more and at least a brand new paradigm of manufacturing facility construction. Large factories with their mass manufacturing applied sciences and a workforce used to the rhythms of the economic day are related after all with Ford and with Taylor but rarely with Kahn. Yet it is Kahn’s improvement of the ‘daylight factory’ that produced the areas by which such environment friendly mass production work could happen. Beginning with contracts with the Packard Motor Co. in 1903 and
thence working for Ford and GM, Kahn established a huge reputation for assembly company wants. Most (in)famously, Building Ten of the Packard Motor Company’s website in Detroit, is seen by some as a defining moment in twentieth century architecture. The constructing has been described as ‘zero architecture’ (cf. Banham, 1986, p. 86). Culture was thus to vanish into the rapacious cost-sensitive maw of administration. And as this zero-architecture took hold, so too did

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Kahn take his agency more and more within the course of wanting increasingly like the massive companies and state departments with whom he interacted. His big drawing places of work resembled ever more carefully the very designs of the buildings upon their drawing boards. One of his contributions then and a key to his success was to develop the large-scale architectural agency that mirrored the large-scale industrial conglomerate. His firm grew then by responding to the modifications within the USA and Soviet economies in the inter-war interval and much more so because of the Second World War itself. The design ideas in his architecture themselves mirrored the expansion of large-scale bureaucracies. His plans emphasized linearity and hierarchy, with Detroit as the centre of his architectural practice in the same way as it was the centre of medium engineering. Michigan was the gravitational point for his work and it mirrored the massive improvement of the automobile business right now. Also associated to this, although not in Kahn’s palms, were the general public housing programme at Leavittown and the Liberty ship building programme. Whilst these have been and are seen as cheap, low high quality and massproduced architectural activities perhaps these are the very things during which we ought to be fascinated. It isn’t the nice figures of architecture in terms of their creative originality of whom we should always converse but the utilitarian forces at work which drive ahead capital’s goals.

The international style
The mental property rights concerned in assigning possession to ‘The International Style’ are complicated and contested. What Guillén has done is to reverse the normally accepted circulate of ideas by which architectural aesthetics
are seen as running westward. For him, Taylorism strikes into Europe within the Twenties as reflective of a new work process by which architects become fascinated due to its ‘elegant’ rationalistic types. For Europeans and most American architects, the traces of influence run the opposite method in that the USA takes on board the International Style which originates in Europe in the late Nineteen Twenties. But in the same means as Le Corbusier touched up photos of Canadian and Argentinian grain silos and called them American, Americans transformed European modernism and air brushed out all the social criticism. Therefore, the transatlantic flows are indubitably both methods. In 1931, the 12 months in which Brave New World was in the manufacturing stage of being published, automobile manufacturing in the USA was at about 20 per cent of its 1929 output. Employment within the building industry was less than half of its 1929 stage and eighty five per cent of all the

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architects in New York metropolis had been out of work (Handlin, 1997, p. 197). The unemployed seemed elsewhere. A new structure based on a model new aesthetic gave the impression to be developing in Europe. It preached austerity, broke its connections to the older traditions of architecture and made prophetic statements about the new social order primarily based on industrial manufacturing. In 1932 an exhibition happened of the ‘modern architecture’ on the Museum of Modern Art and thereafter this grew to become often recognized as the ‘International Style’. According to Hancock and Johnson who organized the exhibition, the brand new style’s aesthetic considerations have been with volume not mass (meaning what went into the constructing was now much more unconstrained), the appearance of a constructing should reflect its function and finally that external decoration served no useful function at all. What this set of ideas does, in fact, is to strip out any formal discussion of problems with ideology, politics and social relevance. In the European custom such issues have been paramount but as soon as European ideas entered the USA there was a tendency for them to be seen without any sense of context from which they originated. Colin Rowe (quoted in Curtis, 1996, p. 403) says that ‘European trendy structure, even when it operated throughout the cracks and crannies of the capitalist system, existed inside an ultimately Socialist atmosphere. American trendy architecture did
not’. For in America, European structure ‘was launched simply as a new approach to building – and not rather more. That is, it was introduced largely purged of its ideological or societal content’. Thus, the transformation into some neutered form of these avant garde political aspirations for and of art-architecture, occurred very simply indeed throughout the USA. Housing, for example, was given a very low status within the USA’s appropriation of the International Style and while the Tennessee Valley Authority (TVA) (studied by Selznick in 1947 as one of many classic items of organizational analysis) did symbolize Governmentsponsored attempts to raise the profile of such social planning, it failed dismally to attain this objective. Somewhat perplexingly, Kahn despised the International Style when he might properly have been seen as engaging in precisely the identical sort of aesthetic. But he saw it because the lowest type of architecture. Architecture in its correct sense was about ceremonial objective. Functionality (in which most of his apply specialized) was the least important within the hierarchy of the self-discipline. Of Gropius’s work he asked ‘Is it architecture at all?’ and that of Le Corbusier was ‘utterly stupid’ (Handlin, 1997, p. 209). This is why he might be sanguine about his personal buildings being ‘zero architecture’ for he noticed such a condition all around him within the new European fashion. It was not proper architecture. This stance came

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from a go to he made in 1881 to numerous European cities, with Henry Bacon, a colleague, who was later to design the Lincoln Memorial. They have been both influenced by the classicism of the Beaux Arts motion in France and thereafter saw ‘real’ buildings as being necessarily monumental, with a transparent architectural hierarchy present from ceremonial buildings on the high and useful buildings means down at the bottom. Harvey Wiley Corbett (1873–1954) argued that ‘advertising, exploitation and publicity have been the animating agents behind the business age’ (1924, quoted in Handlin, 1997, p. 183). The architect, in accordance with Corbett, needed to give expression to these forces and the skyscraper, the architectural form with which he’s associated, will must have a definite physiognomy which might actually determine the corporate who paid for it to be built. Skidmore Owings and Merrill (SOM) were
just such a company who had been ready and willing to supply company identity via monumental buildings. Influenced by Ludwig Mies van de Rohe (1886–1969) along with his picture of the tall building by which to set agendas, they opened their workplace in Chicago in 1936 however instantly also positioned themselves in New York. Thus SOM have been the heirs to Kahn’s ‘utilitarian boxes’; they had been the firm who took this aesthetic of perform and totally stripped out any sense of left wing confrontation inside it. Beginning with their profitable bid to the US Army for the design for the amenities of the Manhattan Project in Tennessee (and their ultra sensitivity to reflecting navy hierarchy that this necessitated), SOM went on to develop their model of the International Style into the house fashion of company capitalism. Office buildings turned nice phantasmagoria in the sky. They had been phallic symbols of the potency of their Chief Executive Officers and, via their glass curtain walls, spoke to the audiences, paraded before them in the streets of the metropolitan centres, of their brightness and powers of illumination made possible by their amassed dollars. The enchantment to company homeowners comes from their phantasmagoric capabilities to dazzle. These workplace blocks conventionally represented ‘sky-scrapers’ but supplied extra symbolically, penetration of the clouds. Yet, as within the factories of Kahn, they relied upon anaesthesized bureaucrats labouring within. The buildings of SOM which got here to dominate workplace constructing within the latter half of the 20 th century were also places of anaesthetics and zeroes. But, in fact, it might be silly to assume that politics had been stripped out of the International Style completely. SOM mirrored a politics which was anti-union, anti-‘liberal’ and anti-craft ethic (one of the methods by which they achieved these objectives was the widespread use of mass produced, prefabricated components, factory-built after which shipped to

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the web site – a commonplace exercise now however initially a radical move). The aesthetics of Hancock and Johnson were supposedly exterior of politics but what this masked was the capture of left leaning socially aware structure by American corporate architects whose politics, had been they to win enterprise for their offices, had to be inclined to the best. So, in America or
elsewhere is it possible even to envisage architectures that don’t anaesthetize and that don’t symbolize a phantasmagorian dazzle designed to concurrently desensitize?

Architectures of emancipation?
Rather than a rationalist view of the aesthetics of structure which posits that the structure and form of a constructing displays its functions, and that these capabilities are hierarchically organized – with in fact the architecture of business at the backside – we’ve sought to argue a extra complicated relationship between aesthetics and organization. Art has often been seen as one means or the other autonomous from the social and political relations in which it has been produced. Through this relative autonomy it could stand outside and protest against the ‘petrified relations’ of bourgeois society. Theodor Adorno was keen to assert in his aesthetic theory that artwork had an emancipatory potential, through its presenting of a vision of an alternate world. Art which required the engagement of the observer and was not merely an leisure or distraction had this potential to liberate (Leach, 1997, pp. 17–19). Following Adorno, who right here prefigures a lot of what Welsch has to say in his tour of the meanings of aesthetics, Architecture as Art could also be assumed to be where every detail/part is central to the totality of the enterprise; themes and detail are highly interwoven and the latter cannot be modified without affecting the entire; a high level of technical competence is required. The audience for the building or edifice which is high art should expertise all of it, they have to focus on it very exhausting for it is like no different piece and finally it’s disruptive of the continuum of on an everyday basis life (cf. Held, 1980, pp. a hundred and one, 103). Architecture devoid of art (in a way ‘zero architecture’) displays the alternative tendencies. The piece uses acquainted and cliched frameworks; it is repetitive, rigid and underdeveloped thematically. Stress is on individual effects not the totality and due to this fact detail may be substituted at will. The conventional norms are unchallengingly supported by such edifices. Audiences react to such artless buildings by responding to the elements not the whole. The piece is standardized and already known and predictable; little effort is required to know it and there is manipulation of the shape and content so

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that they appear acquainted. This sense of pre-existing recognition produces pleasure for the observer and the quality of the building is measured by how typically it’s repeated. Thus it reinforces a way of continuity with everyday life and renders the method of pondering pointless. The downside with such an evaluation is that one cannot assume that difficult and disruptive buildings which challenge the status quo are necessarily going to rely on an aesthetics which are sympathetic to the workforce! Surely it may be attainable for aesthetically difficult edifices to be erected which are antagonistic to subordinate worth methods and quality of life. Adorno thought that ‘authentic art’ would succumb to ‘the tradition industry’ where its shoppers, the workforce, had been at their weakest and most ill-informed. He noticed Benjamin as having embraced ‘the anarchistic romanticism of blind confidence within the spontaneous energy of the proletariat’ (quoted in Held, 1980, p. 88) and as a substitute of this he advocated the deserves of work which both rejects market requirements and nineteenth century philosophies and embraces the dissonant character of the 20 th century. For him, that genuine artwork which was revolutionary in a Left wing sense was more doubtless to be underneath actual menace. What he didn’t absolutely handle was artwork which is revolutionary in a proper wing sense. However, Adorno did acknowledge that the inaccessibility of excessive art would scale back its revolutionary effectiveness for the Left. The relationship between structure, aesthetics and high artwork on one hand and the ability of the workforce, spontaneous or not, on the other, due to this fact does benefit further investigation and is more complex than Adorno recognized. High culture in the form of Art Architecture may be authentically autonomous from what has gone before but nonetheless culturally emiserate giant sections of the populace. Indeed, revolutionary new buildings derived from the area of Art Architects may be similar to the buildings of popular culture: profoundly enslaving. So, in concluding this chapter, we search to not discover and analyse structure which is only left-leaning excessive artwork on one hand or an architecture of in style tradition which reinforces the present structures of domination on the other. Rather, for us, structure is a apply which could be conceptualized as being other issues. First, it could be revolutionary from the viewpoint of the pursuits of Capital and with
aesthetic content material from the phenomenological standpoint of the organizational subordinate. Bel Geddes’ design for the General Motors stand ‘Futurama’, in Los Angeles in 1939, appears to have a few of these features. In what prefigures lots of Disney type rides, visitors (sometimes GM automobile workers) have been placed in a travelling vehicle from which they

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were meant to see the freeways of 1960 and the ameliorating effects these was to have on city life. By all accounts, guests had been amazed and delighted by this diarama. It could be seen as a phantasmagoria which dazzled the consumer and allowed GM to press forward for freeway growth on an enormous scale. But it moved almost all who noticed it. Second, structure is possible which is revolutionary in the interests of Capital with out aesthetic curiosity from the viewpoint of the subordinate. The interpretation of the subordinate is necessary however it might be that he/she sees an architectural aesthetic (or not) due to manipulation of their sensorium. This is the kind of place we expect that Huxley is adopting in Brave New World. Most crucially, nonetheless, for us is that third case where an structure may be devoid of aesthetic intentions or interpretations on the parts of the architect, perhaps even the consumer and definitely their subordinates, yet it might be truly revolutionary. It may be the architectural soma which induces anaesthetization. This description perhaps is what fits the manufacturing facility design work of Albert Kahn. One ultimate modern example might serve to bring these themes upto-date. This is the headquarters building of PowerGen in Coventry, constructed in the mid-1990s and receiving a quantity of awards for its innovation. Despite this we’re not choosing it due to its uniqueness however its typification of the an-aesthetics in organizational aesthetics. The building is constructed as one massive house, around an atrium at its centre which allows all three flooring to be noticed at a look. However, the impact of such a big area on the senses is surprisingly deadened. The noise ranges of up to 600 workers in this open house would be anticipated to be deafening, but the sound is flattened via the pumping of ‘white-noise’ which removes the highs and the lows upon the ear of the listener. The environment is also constant and consistent – kept so by a computerized
constructing administration system. Visually, the experience of the structure is considered one of levelling, transparency and consistency: there are few contrasts or surprises, and a lack of variation in color and texture. The overall impression, then, is one of calm management of the surroundings: a fitting setting for professional bureaucratized man and woman?

Conclusion
Saskia Sassen (2000, pp. 168–9) has argued that: ‘the emphasis on hypermobility, global communications and the neutralisation of place and distance must be balanced with a concentrate on the work behind command capabilities, on the actual production course of within the leading information industries, finance and specialised companies and on global

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marketplaces’ (emphasis in original). In this chapter we now have tried to take these notions of fabric circumstances, websites of manufacturing and place boundedness very critically certainly. Harry Braverman (1974), a determine whose affect on our topic has been enormous, in his discussion of the Labour Process writes almost nothing on space and place. Whilst it’s clear that he did focus on the importance of manufacturing processes and was incisive about the materiality of this process, in his sections about Taylorism and Human Relations, about manufacturing facility and office, these notions are ‘deterritorialized’ so that they look like common and placeless. What we’ve sought to argue is that architecture performed a key function within the twentieth century’s development of administration practice and the labour course of and that our understandings of space and the place of the human body within it are highly influenced by our architectural confinements. Following Merleau-Ponty, Harvey and extra importantly Henri Lefebvre, nonetheless, the area we inhabit with our our bodies is to not be seen as summary space, neither is it formal area. It is lived space and needs to be seen phenomenologically. We are not looking right here for house for the physique but at the-bodyin-space. Human interpretations of the importance of this lived house have to be placed on the forefront of our analysis somewhat than being conveniently forgotten. In looking for to portray the body-in-space from more of a phenomenological perspective, our encounter
with aesthetics raises a number of points. Is the desire to seek out an impartial aesthetics throughout the full range of the human sensorium capable of being fulfilled? And is the seek for genuine structure able to being realized? Or, is aesthetics merely a hand-maiden of management? And, is any piece of genuine art able to withstand this pressure to accommodate and comply? Sassen’s encouragement within the face of acres of ‘virtuality’ to remember materials circumstances, production websites and place boundedness struck us as necessary. Office blocks and factories have an ontological depth which confronts the phenomenological world of the body-in-space. We haven’t house here to explore the philosophical implications of the structure we inhabit. The opening offered right here is one centred on positioned, material, sites of production. Frampton (1992) has argued that ‘Productivism’ is a dominant force in architecture. The central tenet of this type is that architecture is nothing more than elegant engineering and is the product of commercial design on a big scale. The task must be accommodated so far as attainable in an undecorated shed that should be as versatile and as open as attainable. Openness and suppleness are best served by the providers to and within the building being handled in an integrated method and finally

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the building itself ought to characterize the unimpeded manifestation of manufacturing. In their very own ways and in different halves of the 20 th century the designs of Kahn and of SOM symbolize forms of productivism. These two corporations have produced buildings all around the world which are cheap to construct, are damaging of craft abilities, comfortably meet the symbolic and materials needs of capital, and, of their other ways, construct upon anaesthetics more than aesthetics. Their success depends additionally on their incorporation into the dominant social institutions and norms of their time. Thus we emphasize the significance of the everyday architect and architectural practices, and their relationship with enterprise. However, it is maybe not the architects, great or otherwise, nor the capitalist class that we should always concentrate on however the results on our very selves of the anaesthetics and the aesthetics of our built surroundings. It is essential that issues of area, building and design, very often taken-for-granted in
our expertise of everyday life, are incorporated into our understanding of alienation and identification. A critical management studies must be important, firstly, of its personal production and consumption of information. Thus, in our discussions of aesthetics and organization, we should be cautious to not depoliticize the character of the material, embodied relations of manufacturing of which we write, in favour of extra romanticized, lovely – however, perhaps anaestheticizing – versions of organizational life.

12
Aestheticizing the World of Organization – Creating Beautiful Untrue Things Philip Hancock

The final revelation is that lying, the telling of gorgeous unfaithful issues, is the right aim of art. (Oscar Wilde, The Decay of Lying, 1905/1913, p. 54)

Introduction
The aesthetic has lengthy endured an uneasy relationship with institutions of power and authority. For Plato (trans. 1955/1987), the subversive potential he detected within the follow of art, and the aesthetic it engendered, was adequate for him to call for poets and performers to be banned from his ideal Republic, lest they need to corrupt his guardians and future philosopher kings. For the good minds of the Enlightenment the aesthetic, one thing unwieldy and corporeal in its nature, threatened their equally idealized realm of thoughts and led Kant (1790/1952) to assemble his elaborate philosophical system to make sure its subservience to the exercise of reason and judgement. More recently, during the nineteenth and twentieth centuries as modernity witnessed art and aesthetic practice emerge as a radical political and cultural pressure, the Janusfaced character of the age grew to become increasingly obvious as the creations of the avant-garde quickly turned the sole preserve of the wealthy and highly effective in society to build up and luxuriate in. Today, nonetheless, in these so-called postmodern occasions, it will seem that the aesthetic has lastly been liberated. Freed by the democratizing forces of market capitalism and not formally restricted to the domain of art, aestheticized experience is on the market in all places and to everybody: within the native excessive street, by way of the media and even, within the 174

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workplace. We consume on the idea of favor, symbolism and style. Our our bodies have become aesthetic tasks to be adorned, toned and displayed.1 Even the organizations we work for are now, or so it might seem, getting in on this explicit act. Not only is the worth of company artwork collections on the rise (see Jacobson, 1993, 1996), however, within the wake of the corporate culture motion (Deal and Kennedy, 1982) and calls for extra managed emotion within the workplace (Cooper and Sawaf, 1998), it might now seem that organizations are themselves turning into more and more delicate to aesthetic values. In the UK, for instance, the mainstream business press has began to run tales and articles on the acknowledged significance of aesthetics to ‘efficient’ office design (Gardner, 2001) and the function artistic actions can play in motivating and retaining workers (Pollock, 2000), while radio and television programmes have discussed points starting from the impact of the aesthetics of PowerPoint displays on organizational thinking, to the aesthetic of organized religion and the way huge enterprise can and will learn from it. Furthermore, this isn’t simply an organizational issue within the slim sense of the time period. From designer retailers to glossy and stylized public relations paperwork, car livery to the coaching of employees in self-presentation, corporate organizations are also more and more enjoying a major function within the landscaping of our on a regular basis aesthetic surroundings. Issues of organizational aesthetics are also, subsequently, more and more socio-cultural issues as the fashionable distinction between formal organization and culture is rendered increasingly meaningless. So how are important theorists of organization and society to interpret such developments? Do they take them to characterize a potential desublimation of the sensuality of society, or quite, should they give the impression of being upon them as yet an extra example of the ever-encroaching tide of rationalization that continues to hang-out and undermine the emancipatory vision of important social theory? In this chapter, what I seek to do is strategy such questions by way of the critical textual scrutiny of a number of the work that has just lately emerged to champion such developments, significantly that which exults organizational managers to take seriously the need to make
strategic interventions into the realm of organizational aesthetics. In doing so, and by drawing on a spread of theoretical sources including those to be discovered within the work of Theodor Adorno, Stjepan Mestrovic and Wolfgang Welsch, I then try to draw some important conclusions concerning what I argue here is a process of organizational aestheticization, maintaining that rather than representing the emancipation of the aesthetic, such developments can be extra accurately understood to represent the potential negation of the distinctive, and possibly emancipatory qualities of the aesthetic as a realm of non-conceptual experience.

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The drawback of everyday aestheticization
We are, as Wolfgang Welsch (1997, p. 1) has noted, ‘without doubt at present experiencing an aesthetics boom’. While a multi-faceted process, integral to this ‘boom’ is what he refers to as a means of floor aestheticization – the embellishment and sensualization of on a regular basis objects, environments and experiences. Yet regardless of the initial impressions [sic], the term surface may give, we must always not essentially take it to imply something trivial or inconsequential. For to refer to the floor on this context is to refer, I would suggest, to the conceptual and physical space within which our on an everyday basis experiences and understandings of the world around us are negotiated and reproduced. That is, a continually contested area within which human topics are capable of exercise their potential for subjective understanding and inter-subjective communication based mostly on the autonomous realization of will, and the apply of undistorted communication (Habermas, 1981/1984). Yet, because the term ‘contested’ suggests, this on an everyday basis realm is one within which a multitude of forces and interests play themselves out, each both doubtlessly threatening and facilitating the potential of human relations based on the values and apply of autonomy, creativity and respect. The potential aestheticization of this on an everyday basis house has, maybe not surprisingly therefore, encountered somewhat mixed reactions. For Featherstone (1991), for instance, this aestheticization of the mundane is taken as the optimistic outcome of a consumer culture that actually promotes the asetheticization of the rational and instrumental
components of consumer capitalism. Thus, socio-cultural aestheticization is taken to represent a celebration of human creativity in a world of folks who ‘have a way of journey and take risks to explore life’s options to the total, who’re conscious they’ve just one life to stay and must work onerous to take pleasure in, experience and categorical it’ (p. 59). Posited in opposition to such optimism, however, sits another perspective, another important and wary of the origins, and potential implications, of such an aestheticization process. Drawing in particular on the legacy of the Critical Theory of the Frankfurt School normally, and the work of Adorno, Horkheimer and Marcuse specifically, this attitude challenges the connection outlined above between aestheticization and rationality in that it considers it to be a rationalization and instrumentalization of the aesthetic that in reality underpins such developments. A process that, in turn, quite than valorizing the aesthetic dimension of on an everyday basis life, signifies the negation of aesthetic expertise as a novel and probably emancipatory mode of apprehending the world.2

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Yet while normatively and politically divergent, what evidently unites these perspectives is a shared consciousness of the economic basis of such a process. Now of course, for Featherstone, while proving a useful place to begin for his theorization, finally the primacy of financial evaluation is rendered considerably out of date by what he considers to be the elevated prominence of cultural determinism inside contemporary societies. However, for the extra Marxist inspired tradition of Critical Theory it’s the financial dimension that provides, in giant part, the premise for its critique of what is thought-about to be the debasement of western art and tradition by the reductionist and instrumentalist logic of commodity capitalism (Adorno and Horkheimer, 1944/1979). This assault on the worth of aesthetic experience is viewed, therefore, as essentially a colonization process whereby, as Welsch (1997, p. 3) notes, aesthetic values can even be employed to rehabilitate and promote, for instance, commodities which have in any other case turn out to be ‘increasingly unusable on moral or health grounds’. The primary concern here then isn’t merely that modern aestheticization processes render us
more and more vulnerable to the practices of advertisers and marketeers. Rather, as I actually have intimated above, what may also be at stake is the quality of the aesthetic as an integral aspect of human culture and expertise, dealing with because it does the onslaught of a rationalization process that reduces it to little greater than yet another quantifiable variable, devoid not only of the unique qualities of sensuality, but that emancipatory potential which, as Marcuse (1978/1979, p. 69) notes, has for thus lengthy deferred its promise of ‘freedom and happiness for the individual’. What is especially fascinating within the context of this assortment, however, is that for those concerned with developing a critical method to the ideas and practices underpinning modern organizational activity,three such debates are additionally coming to tackle a newly invigorated significance. For organizations, as Berg and Kreiner (1990) observed over a decade ago, have been no less seduced by the aestheticization processes apparently availing the the rest of society resulting, in turn, within the emergence of a sizeable body of literature both extolling, and warily acknowledging, the implications of aesthetics for the contemporary organizational endeavour. In relation to this latter genre, along with Strati’s (1990, 1992, 1996, 1999, 2000a,b) sizeable contribution to the development of an aesthetically driven approach to organization studies itself, a quantity of authors have subsequently addressed what they consider to be a variety of negative manifestations of the purposeful manipulation and management of aesthetics within the organizational domain. Drawing on Gagliardi’s (1990a, 1996) re-formulation of the

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aesthetic capacity of the organizational artifact, for instance, Larsen and Schultz’s (1990) study of a Danish bureaucracy addresses the ways in which materials artifacts ranging from workplace furnishings to the bodily posturing of particular person bodies, could be manipulated to take care of the perceived legitimacy of asymmetrical organizational energy relations, and thus function as pervasive applied sciences of unconscious management. Other examples of this more critical strategy to the aestheticization of organizational life may additionally be found in recent work, such as that by Hancock and Tyler (2000), Höpfl (2000), and Thompson, Warhurst and Callaghan (2000), all of whom have
focused on how the management of both environmental and embodied aesthetics can be understood to operate as a mechanism of worker control by way of what Witkin (1990, p. 332) has known as the ‘positive cultivation of sure sensuous values that directly express or notice the organizational presence demanded’. However, as the work of Carter and Jackson (2000) suggests, the capacity for organizational aesthetics to influence and domesticate the sensuous isn’t essentially restricted to the interior of the organizational domain. As their examine of the work of the Commonwealth War Graves Commission illustrates, the aestheticization of organizational activities can serve an important operate in terms of reinforcing far wider socio-cultural belief techniques. For whereas the formal position of the Commission is the ‘care and upkeep of cemeteries and memorials for military struggle dead’ (Carter and Jackson, 2000, p. 184), underpinning this duty, they argue, is the fabric technology of an aesthetic designed to invoke, through the orderly and dignified design of such services, a ‘feeling of solace and peace and never of depression’ (Gibson and Ward, cited in Carter and Jackson, 2000, p. 184). While at first sight this might be taken to symbolize simply an try and generate an applicable sense of dignity and respect for the deceased, the account put ahead by the authors is considerably more critical, and maybe rather extra insightful. For by locating the interpretation of such physical areas within the context of a broader important concept of the connection between authority and the portrayal of struggle, they considerably convincingly suggest that what they actually represent are aesthetically engineered spaces designed to deny their relationship to the experience of war, dying, destruction and chaos. Of equal significance, nonetheless, is that in doing so they also actively favour the values of common order and purpose that, in turn, obscures each the irrationality of contemporary warfare and the irrationality of a social and political order which so often perpetrates or justifies such acts of destruction. Organizational aesthetics, on this instance at least, can subsequently be said to transcend the particular realm of the organization itself, and

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function to strengthen the extra common cultural regime attribute of
modernity and its unapologetic adherence to the formality of postenlightenment rationality; whatever the human price incurred. Yet as I noted earlier, not all literature is so critically inclined. While the crucial within the material I have considered above is the identification and critique of a process of instrumental appropriation directed in course of the aesthetic dimension of expertise, another body of literature has also recently emerged which presents itself in very totally different phrases. For in contrast to say the work of Carter and Jackson, its authors think about the organizational appropriation, and manipulation, of the aesthetic dimension to be not solely a optimistic development in conventional business phrases, but also to offer a probably liberating expertise for society as a whole. Such materials, subsequently, extols the advantage of the aesthetic and its capability to both stimulate organizational competitiveness and efficiency while, at one and the same time, fostering the capacity of contemporary work organizations to boost the quality of the aesthetic experience of society as an entire. Yet regardless of such apparently noble intent, what I propose in the the rest of this chapter, and drawing on the important tradition alluded to above, is that such literature in fact does little more than to further cut back the aesthetic to the status of an instrumentalized provider of a really specific organizational ideology. Furthermore, to achieve this, it might appear that even regardless of the literatures acknowledgement of the distinctiveness of the aesthetic as a mode of economic, if not social engagement, it must nonetheless be stripped of its intangible or ineffable qualities, as well as any notion of experiential autonomy, lowering it to the extent of yet one more quantifiable variable inside the design of a broader organizational system. As such, the aesthetic as a critical mode of experience and cognition is itself emasculated, lowered to the status of yet another heteronymous ordered element within the organized surroundings of up to date shopper capitalism – and like Carter and Jackson’s cemeteries – left to function as an engineered legitimation of the dominance of an instrumentalized and dehumanized culture.

Designing the attractive organization
Before proceeding any further, it’s perhaps price stating one essential caveat, namely, that in no way should it be taken that I am suggesting that
an instrumental perspective towards the aesthetic and its relationship to the pursuit of economic acquire or organizational productivity is, in itself, totally novel. From the requirement for aesthetic labour, to the

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use of designers, architects and artists to generate brand or company identities, the relationship between them is as old as capitalism itself.four For example, architecture, as Olins (1989) observes referring to the nice London railway stations constructed during the nineteenth century and, extra latterly, the imposing City headquarters of the Midland Bank which, when it was inbuilt 1924, was the wealthiest such institution on the planet, supplies a striking illustration of this reality. Today, the felt need to specific one’s company energy and position by way of the design and scale of one’s public buildings is not any much less diminished in fact. Structures such because the Chrysler Building in New York, the Bank of China tower in Hong Kong, or the recently accomplished Citigroup Building on London’s Canary Wharf function not simply as containers, however, as Berg and Kreiner (1990, p. 43) would have it, ‘impelling symbols of company virtues and managerial intentions’. However, what is perhaps more and more important right now is the potential for organizations to generate, project and sustain an aestheticized relationship between themselves and their increasingly diverse vary of stakeholders through a far larger range of media than simply buildings and product advertising. Now whereas partially this can be a consequence of technological developments and the increased primacy of data and knowledge management inside society as a complete, what is also significant is the requirement for organizations to in a position to communicate a commercially engaging and publicly memorable id, largely in response to the pressures of intensified global competition, at each opportunity that presents itself. Thus, from product ads to annual reviews, inside newsletters to recruitment brochures and mission statements to web pages, more and more the emphasis is being positioned on taking the chance to ‘get throughout the best image’, ‘look good’ and ‘make a powerful impression’ so as to preserve or obtain even the slightest of market benefits. Yet it is not so much the quantitative improve in the amount of aestheticized materials being produced
by modern organizations that is of major concern right here, however somewhat the qualitative shift this may have generated in phrases of how the class of the aesthetic is skilled inside modern organizational circles and society at large. What I am suggesting by this, is not simply that aesthetic experience is more and more coming to serve the economic interests of the corporate sphere – a somewhat inevitable course of – however the thought that in doing so, it’s in reality changing into identical with, or reduced to it. By this I imply that we face a potential scenario whereby aesthetic experience now not simply serves the requirements of the company sphere, however where corporate style and beauty becomes type and beauty per se, and aesthetic

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experience is valued at naught unless it is formally sanctioned though organizational affiliation or company association: a world the place the sanitized, plastic beauty of organizational aesthetics supplies the one credible, or certainly respectable, source of aesthetic gratification. Certainly, there are others who share a concern that such a shift in our cultural sensibilities could already be happening. As I indicated earlier Welsch (1997, p. 3), for instance, notes how it’s evident that the ongoing floor aestheticization of latest western societies is, largely, pushed by the more and more aestheticized nature of marketable commodities. This is occurring, he goes on to argue, and clearly drawing on the work of Baudrillard (1981), to the extent whereby even the exchange value of commodities is supplanted by their ‘aesthetic aura’ which itself becomes the consumer’s ‘primary acquisition, with the article merely incidental’. Equally, in her polemical account of the continuing growth of the corporate model into nearly every side of our on a daily basis lives, Klein (1999/2001) supplies a not dissimilar set of observations. For instance, she notes how it is turning into not merely accepted, however culturally expected that main leisure and humanities events should be accompanied by sponsorship relations that be certain that every side of the expertise is stamped and adorned with the aestheticized id of the sponsor themselves. Thus, every type of aesthetic occasion, from in style music excursions, to artwork exhibitions, television
drama and theatrical productions are, in Klein’s view, on the verge of becoming indistinguishable from the aestheticized experience of the company sponsorship upon which such events now rely. Perhaps more telling, nonetheless, is the work I referred to nearer the beginning of this chapter, that which is immediately concerned with selling the systematic strategy of organizational aestheticization and the advantages it could possibly deliver, and to which I now want to flip my attentions. It is in the work of Bernd Schmitt and what he terms his Corporate Aesthetics Management (CAM) Framework that the drive to establish a scientific approach to the planning and design of an aestheticized organizational environment is probably best exemplified. Schmitt, creator of a selection of single-authored and collaborative works (Schmitt, 2000; Schmitt, Simonson and Marcus, 1995; Schmitt and Simonson, 1997), first outlined his strategic strategy to management of organizational aesthetics in a journal article entitled Managing Corporate Image and Identity (Schmitt, Simonson and Marcus, 1995). While he acknowledges that, generally talking, organizational managers have tended to sidestep discussions on aesthetics as a outcome of considerably esoteric and customarily subjective nature of the topic, for Schmitt

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the resolution to this ‘problem’ is solely to reduce the language of the aesthetic to a ‘style’ [sic] extra ‘familiar’ to managers, thus permitting it to be more easily comprehended and deployed as the basis for a ‘comprehensive and strategic method … to [managing] a firms aesthetic image’ (Schmitt et al., 1995, p. 83). The path that Schmitt and his colleagues take in this respect commences, maybe not surprisingly, with the act of definition. That is, by defining the item of their attentions, namely company aesthetics, they are in a position provide a readily digestible discount of a posh concept while, at the identical time, establishing important socially grounded relations as by some means pure or almost inevitable, such as the very conjunction of the two terms or the relationship between company imagery and the chance of ‘gratification’: the term ‘corporate aesthetics’ is used in its broadest sense to refer to a company’s visible (and in any other case aesthetic) output in the
type of packaging, logos, trade names, business cards, company uniforms, buildings, ads and other corporate elements which have the potential of providing aesthetic gratification. (Schmitt et al., 1995, p. 83) The focus of their strategy, it must also be famous, is then placed firmly on the analysis of fabric artifacts because the aesthetic parts of the group. Thus, the subjective dimension of aesthetic expertise is, or so it seems, rigorously excluded, additional reducing potential obstacles to the construction of a systematic framework within which the aesthetic may be lowered to a sequence of variables, topic to manipulation over both time and house. Thus having now decreased the aesthetic to a discursively knowable and materially quantifiable entity, it is then potential to ‘slot’ it into the CAM framework and articulate the mandatory categorizations, procedures and assessment criteria which, we are informed, provide an method to the management of aesthetics that is ‘systematic’, ‘comprehensive’ and ‘strategic’ (Schmitt et al., 1995, p. 83). So, just like the architectural tasks associated with high modernism, for example, aesthetic concerns are decided by the ideas of order, calculability and replicability that already underpin the organizational logic acquainted to people like Schmitt. Indeed, its personal aesthetic is that of the machine, which then nearly inevitably descends into the formulaic management-speak of methods, sub-systems and techniques as managers are counselled in the want to undertake careful and systematic analyses, calculations and evaluations as

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part of their aesthetics administration methods. Take, for example, the next passage describing the construction of an aesthetics state of affairs analysis: The scenario analysis encompasses 4 distinct sub-stages, every reflecting a separate objective … The first sub-stage consists of an intensive establishment evaluation of every side of a company’s image. Without proper identification of all image-related parts, the great, systematic and strategic qualities are compromised. (Schmitt et al., 1995, p. 84) Notably, a central component of this case evaluation are what the authors describe as the four ‘P categories’ of aesthetics administration, ‘properties, merchandise, displays and publications’, all of which must be carefully
evaluated (although we are warned that the preliminary subdivisions might require the use of ‘subjective judgements’) to make sure a sound data base is offered with regard to the aesthetics of the existing company image. Further phases then comply with; the design of a corporate aesthetics technique, the building of design elements, and at last a course of for aesthetic high quality control via which consistency of picture and style could also be maintained and needed updates and upgrades undertaken. In the extra substantial text, Marketing Aesthetics (Schmitt and Simonson, 1997), not only is the CAM framework refined, however the emphasis shifts to the presentation of a completely blown ‘self-help’ or ‘how to’ manual for budding aesthetics managers. Here, every thing from type to varied architectural and geometric forms is recognized, defined after which illustrated in their specific software. Perhaps extra important, nonetheless, are the examples the authors provide of what they consider to be notably profitable makes an attempt at producing very specific aestheticized identities by several main companies. Starbucks, IBM and GAP all present case research of organizations whose strategy to the management of aesthetics has led the way in the use of pictures, sounds, smells and textures as tools to achieve ‘tangible worth for the organization’ (Schmitt and Simonson, 1997, p. 21) including ‘increased shopper loyalty, the ability to cost larger costs for related products and elevated employee productivity’. So whereas such organizations more and more contribute to the aesthetic landscape of up to date western tradition, the aesthetic is itself, or so it might seem, contemporaneously lowered to an equal value, one identical to the worth such organizations place upon it as a useful resource for the maximization of revenue and the marginalization of potential competitors.

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Now it must be admitted that in many respects the work of Schmitt and his colleagues offers something of an apparent target for the kind of criticism I even have talked about earlier. For despite their allusions to the generation of cultural value and the like, they don’t, after all, totally draw back from articulating the priorities underpinning their efforts, specifically to ensure corporate leaders acknowledge the aesthetic dimension as a possible useful resource,
which, as with all different useful resource, exists to be exploited. As such, the aesthetic, because the realm of sensory apprehension, is clearly conceptualized and articulated as a website of strategic managerial intervention, amenable to qualification and quantification, analysis, appropriation and finally, purposeful commodification, while the potential wider penalties of this aren’t, on the end of the day, overly concerning to them. However, the same can’t be so straightforwardly said of the work of Dickinson and Svensen (2000), whose Beautiful Corporations: Corporate Style in Action signifies a really totally different approach to the difficulty at hand. Unlike Schmitt and Simonson’s providing, this seems to be no work of wise scientism and fathomable frameworks. Indeed, one’s very first encounter with this particular artifact is itself – like an growing variety of new-wave management texts – profoundly material and aestheticized. The dust cowl, striking in design, verges on the fluorescent. The inside combines paper that’s silky to the touch with full-page shiny photographs and fascinating montages whereas the text is organized in brief, punchy paragraphs laid out with plenty of area to spare and punctuated with ‘stylish’ photographs and MTVesque soundbites. Certainly more company coffee table than company boardroom, extra pop culture than mental treatise, its aesthetic is one of fun, accessibility, and the feeling that enterprise may be cool, slick and stylish. Even when one ventures beyond (or below) this degree of engagement, the narrative is seemingly equally different in content material to Schmitt and Simonson’s. Rather than a technical handbook, it is a direct evocation to a extra enticing world by way of organizational aesthetics and the creation of really beautiful companies. That is, a world during which company exercise ought to constitute ‘style, magnificence, a positive perspective and pleasing experiences’ (Dickinson and Svenson, 2000, p. 3) not solely for its members but society as an entire. This holistic vision is summed up well be Sean Blair, Design Director of the UK Design Council (cited in Dickinson and Svenson, 2000, p. xii) who describes the gorgeous corporation as one that will: seek people not as human resources, but as human skills, aiming to realize potential not management it. [That] will contact the earth frivolously,

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not using physical sources unnecessarily, however will use resources in new and more efficient ways. The company that will dominate tomorrow’s business panorama will pursue the social in addition to the financial agenda. The aesthetic at work right here then, is perhaps more ‘post’ than ‘high’ fashionable. This is a imaginative and prescient of up to date firms much like that of Prince Charles’ imaginative and prescient for modern architecture; one where design is delicate to human scale of need, quite than dictated to by summary rules such as these of ‘the one best way’ or ‘form follows function’. Nevertheless, there could be a lot right here that remains deeply unsettling. What, for instance, constitutes this ‘style’ that Dickinson and Svensen continuously check with each of their subtitle and throughout the work itself? For Schmitt and Simonson (1997, p. 85) type is the albeit sensitively constructed mixture of ‘color, form, line and pattern [or] volume, pitch and meter’, ultimately quantifiable and positively marketable. However, for Dickinson and Svensen, style appears to symbolize a a lot more metaphysical organizational high quality. Style, they acknowledge is in fact an intrinsic quality that can’t simply be invented or acquired – you both have it otherwise you don’t. But this doesn’t mean that corporations cannot act in a trendy method, nevertheless. For to be trendy is to be engaging, and to be engaging companies should learn to act with ‘integrity and honesty’, traits that the authors view as ‘prerequisites for success’ (Dickinson and Svensen, 2000, p. 4). Style can additionally be portrayed in terms of company ‘individuality and personality’ (Dickinson and Svensen, 2000, p. 30); it is a method of doing things that can differ between businesses and the contexts inside which they operate. So, whereas the idea of favor itself stays esoteric, accessible to those that ‘know’, illusive for the rest, it additionally represents the primary ingredient for company success. Yet although such apparent mystification might sit well with the ineffable quality of the aesthetic previously disregarded by Schmitt and Simonson, it nonetheless seems, nonetheless, to serve a very particular function. That being, the placing of the authors and the textual content itself into a position of power and authority – leaving them relatively free to present their imaginative and prescient of the gorgeous corporation free from any need to ground their propositions in something other than the self-referentiality of their very own assertions. Certainly, there may be little to convince one that the instance of the so-called stunning corporations they offer up as
illustrations of their vision symbolize anything aside from a mixture of slick design and the valorization of fabric aspiration. While the graphic design related to organizations such as Shell, Mercedes-Benz and UK cable

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television firm On Digital actually demonstrate a high degree of corporate aestheticization, there’s little proof to recommend the necessary shift in underlying values and practices that might qualify them, by Dickinson and Svensen’s standards, for the status of a ‘beautiful corporation’. Hence, despite their allusions to something past a easy surface aestheticization of organizational actions and presentation, it will seem that Dickinson and Svensen’s method is, on nearer inspection, not so different from the one taken by Schmitt and Simonson whereby floor aestheticization qualifies as aestheticization per se, and company presence exists as the preeminent motivation and aim. Certainly, when one compares the 2 approaches, there remains the essential frequent denominator that prevails throughout – their overriding concern with the economic utility of aesthetics for company efficiency throughout the global market. Design, for example, is championed as the new buzzword for those actually thinking about company success, changing now defunct managerial fashions corresponding to TQM and JIT (Dickinson and Svenson, 2000, p. 41). And, while bottom line and humanistic concerns are combined within the declare that aesthetics can generate both what they time period ‘cultural currency’ (Dickinson and Svenson, 2000, p. 38) and a extra humane and productive surroundings for workers to work in, it is usually quite tough to unravel the distinctions that are made between the pursuit of profit and the professed nurturing of company accountability. Referring, for example, to the thoughts of Jamie Anley, a founder of the design and communication group ‘JAM’, the pursuit of organizational identification through aesthetics is reflected, they suggest, in the belief that it is more admirable for firms to put cash into ‘beautifully designed and made’ staff uniforms than it is to spend much more of television promoting (Dickinson and Svenson, 2000, p. 40). The prioritizing of such activities, while maybe at first
sight a reference to the intrinsic worth of providing a extra snug and trendy working setting for employees, shortly retreats as, on additional studying, its impetus derives clearly from the custom of varied ‘soft’, but instrumentally centered, employee management methods related to different movements and fads such as Human Resource Management (see Legge, 1995) or company culturalism (see Parker, 2000b). Furthermore, the opportunities supplied by aesthetic administration to nurture patterns of normative compliance and moral attachment by workers is one not lost on people who the authors affiliate with the popularization of the aesthetics of organizing. Resonating with Featherstone’s (1991, p. 126) comment on up to date worth systems

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that have a tendency to attract ‘on tendencies in client culture that favour the aestheticization of life, [and] the idea that the aesthetic life is the ethically good life’, the proposition that a clear aesthetic identification might help produce employees that ‘would have such confidence and satisfaction in the group that they’d, should you met them at a party on a Saturday evening, need to press a business card in your hand’ (Anley, cited in Dickinson and Svenson, 2000, p. 41) conflates aesthetic attraction with social worth and personal achievement in a method consistent once once more with ideas incessantly expressed all through the style of company culturalist ‘how to’ manuals. Furthermore, despite the speak of participation, fluidity and progressive design, the authors necessities that company managers study to ‘police’ the company image, to impose ‘pre-set templates that cannot be changed’, undertake the removal ‘from laptop networks all but approved typefaces and introduce publications management systems’ (Dickinson and Svenson, 2000, p. 94) to ensure ranges of ‘standardization and control’ in all aesthetic activities, additional reinforces the conclusion that company magnificence comes at a worth. That value, or so it will appear, being the regimentation, standardization and inventive closure of the which means making process as expressed at that very stage of organizational practice they so passionately seek to champion.

Aesthetics, modernity and the culture industry
These two specific examples of managerialist literature involved with the connection between up to date organizational life and the aesthetic realm mustn’t, I must stress, be taken as yet to symbolize anything like a coherent movement throughout the sphere of contemporary managerial thought. As I even have noted, the majority of work that has engaged with the connection between the aesthetic and the organizational has tended to adopt a far much less instrumental orientation, focusing as an alternative on predominantly epistemological or critical issues. Nevertheless, such literature remains important. For despite the relatively restricted degree of debate regarding the role of aesthetics management in modern work organizations, the practices championed in this literature definitely look like more and more necessary to the day-to-day operation of a notable vary of organizational varieties. As I have already advised, this, in massive part, may be accounted for by the proliferation of alternatives for organizations to present themselves to the outside world via material that requires constant consideration to be paid to its design and presentation. Mission statements, recruitment brochures, web pages, multi-media promoting and the competition that exists around such media all require the

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closest consideration be paid to points of favor, presentation and above all, ‘feel’. It also reflects, however, what I really have alluded to as a extra basic response to our aestheticized culture, one which valorizes above nearly all else the qualities of spectacle and show (Urry, 1990). Hence, in what’s an more and more media-saturated surroundings with its proliferation of sounds and images, organizations concerned in the international struggle for market recognition are required to compete in what is an increasingly stimulus rich surroundings. As such they need to search to pay increasing consideration to how the aesthetic qualities of every little thing from their merchandise to their invoice sheets, from their outlets to their workplace designs contribute to the pursuit of that imperative if they’re to make an impact on potential stakeholders at each and every opportunity. Accompanying such a quantitative shift, however, we must, as I also urged earlier, contemplate the potential
qualitative implications of such literature and the developments it both encourages and reflects. In particular, we’ve to ask simply what might it suggest in regards to the nature of contemporary aesthetic expertise both inside the organizational domain, and the socio-cultural surroundings more usually. Well, in plenty of respects, it maybe raises issues much like these I have explored elsewhere in relation to the question of organizational emotionality (Hancock and Tyler, 2001). This work drew specifically on the ideas of Mestrovic (1997) and his view that we are presently experiencing the dawn of what he terms a postemotional society; one in which emotion as an authentically lived expertise is being gradually eroded by our fixed publicity to mechanized, rationalized and ultimately commodified emotional stimuli. Such postemotionalism is, for Mestrovic (1997, p. xi) a minimum of, the direct end result of what he phrases the ‘authenticity industry’, consisting largely of a combination of the service and culture industries, and their by no means ending pursuit of recent markets and people mechanisms by which potential shoppers could also be drawn to them through the era after which obvious fulfilling of their newly ‘discovered’ emotional wants. Mestrovic’s analysis draws together, subsequently, a sequence of apparent developments between the sphere of up to date work organizations and broader patterns of socio-cultural change, in an attempt to ascertain a fuller image of the standing of emotion in contemporary society. Now, the similarities between this explicit analysis of latest emotion and that which is recommended by the material involved with the administration of aesthetics are, I would argue, doubtlessly informative. For whether or not one might convincingly describe the works of the likes of Schmitt and Simonson as part of an authenticity business per se,

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certainly their work shares many of the attributes described by Mestrovic, particularly these which he derives from his own evaluation of the work of Adorno and Horkheimer (1944/1979) and their critical account of the ‘culture industry’. Their explicit thesis is premised on the view that post-Enlightenment societies can be characterised by the predominance of a mode of rationality that’s itself grounded in a drive to domination and
management. As such, human activity is taken into account to be increasingly organized in relation to means, not the consideration of ends, until, as Adorno (1991/2001, p. 93) notes, ‘to converse even of tradition is to speak of administration whose task is to “assemble, distribute, evaluate and organize” ’. This is to not recommend that for Adorno culture and administration are similar in themselves. Rather, he argues that they ideally exist in a state of pressure whereby tradition serves to have fun the actual options of life over its generalization, while administration to have the ability to management life, seeks the reverse. Yet the requirements of recent society, and particularly those of capitalism, have unbalanced this tension, more and more debasing the lived activity of tradition, and reducing it to a standardized, replicable quantity, which is each simply producible and unquestionably consumable. While Adorno and Horkheimer’s critique of the instrumentalization of tradition is perhaps informative in itself in relation to the overall incorporation of the ‘problem of culture’ into the sphere of organizational management, in phrases of the realm of aesthetics it is, I would recommend, particularly pertinent. This is in large part because of the essentially emancipatory potential Adorno (1991/2001) ascribed to art particularly, and aesthetic expertise generally, due to each its inherent impracticality and non-conceptual structure; a construction that permits it to articulate the world in a way that’s non-reducible to the instrumental classes that modern rationality has sought to impose upon it. Yet even within the midst of his attempt to theorize the aesthetic as a permanent realm of critical possibility, he was conscious of the ever-encroaching affect of organizational rationality. So while Adorno deliberately opposed tradition, as the realm inhabited by artwork and the aesthetic sensibility, to that of administration and group he was forced to admit that regardless of its non-conceptual character, artwork had not totally resisted the onslaught of the instrumentalized rationality of modernity: Today manifestations of extreme artistry can be fostered, produced and introduced by official establishments; indeed artwork is dependent upon such support whether it is to be produced at all and find its method to an viewers. Yet, on the similar time, art denounces everything institutional

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and official. This provides some evidence of the neutralization of culture and of the irreconcilability with administration of what has been neutralized. Through the sacrifice of its potential relation to praxis, the cultural concept itself becomes an instance of group; that which is so provokingly ineffective in tradition is remodeled into tolerated negativity and even into something negatively helpful – into a lubricant for the system, into something which exists for something else, into untruth, or into goods of the tradition business calculated for the buyer. (Adorno, 1991/2001, p. 102; emphasis added) Like Mestrovic’s post-emotional society then, what Adorno seems to lament here is the emergence of a type of post-aestheticism, whereby aesthetic experience is itself little more than the experience of the untruth of the tradition trade, albeit certainly one of ‘beautiful unfaithful things’ (Wilde, 1913, p. 54). Extrapolating out from this, it could be argued therefore that in creating its methods and frameworks for aesthetic administration, in adorning the world in stunning livery, dazzling logos and even, where applicable, the imagery, sounds and sensations of what could have once been thought-about the highest of art and culture, the company world is equally responsible of lowering aesthetic expertise to little more than simply another repository of mechanically produced, instrumentally orientated codes and symbols. Having colonized the cognitive and affective realms of each their staff and consumers, it will appear then, that the next assault is to be on the realm of the sensual, albeit within the name of a more beautiful world – naturally.

Critical considerations
Now, to criticize the aesthetics of the everyday may, in many respects, appear to be one thing of a reactionary exercise. After all, if human beings can not enjoy the mundane sensuality of their surroundings and everyday interactions, what hope is there? Does Featherstone’s celebration of the opportunities presented by the commodification of the aesthetic for novel experience, idiosyncratic experimentation and self-expression not need to be embraced, somewhat than dismissed as, at best naive and at worst complicit? Equally, ought to we not welcome the decision for more beautiful companies from the likes of Dickinson and Svenson, and certainly hope that organizations will
embrace the values of design and presentation as their contribution to a extra sensually pleasing world? Well, in lots of respects, it is a well-rehearsed argument,

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resonating as it does with the schism within cultural research between the critique of mass tradition by the Frankfurt School and its followers and the defenders of what they think about to be the worth of the popular (see Fiske, 1989a,b). For the champions of the latter, the assets provided by the culture industry are there to be re-appropriated by the masses – who more usually than not reach shaping them to their very own needs and intentions. However, for the previous this stays merely an phantasm, decided as it’s by the imperatives of mass manufacturing and the reductionist logic of cultural commodification. It is, furthermore, a debate that appears to indicate little sign of reaching a satisfactory resolution, with each side wedded to their respective metatheoretical and normative positions. However, the prior existence of such debates shouldn’t, I would argue, deter us from persevering with to ask these questions which we may really feel are of importance to generating a critical understanding of the implications of social change, no matter facet of this particular divide they fall on. In this occasion that query is, for me a minimum of, what can we take to be the character of such aestheticization processes that seem to confront us at each at work and leisure, and what effect, if any, would possibly they’ve on our capability for aesthetic experience and judgement? Certainly what such a question does not require, as Adorno and Horkheimer remind us, is a straightforward finger pointing train, seeking out particular people for making the world a one way or the other much less genuine place. But perhaps it’s a case of following Adorno and Horkheimer’s lead, by attempting to come back to phrases with the ways during which ‘the energy of society’ as they check with it (Adorno and Horkheimer, 1944/1979, p. 124), underwrites a rolling aestheticization of the world. A course of by which the ever accelerating calls for of a consumer-driven market seems to obliterate the need for substance and, in flip, replaces it with a requirement for instant gratification or expertise accompanied by the ‘predominance of the impact, the obvious touch and the technical element over
the work itself’ (Adorno and Horkheimer, 1947/1979, p. 125). For what this implies is the essentially ontological problem of more picture and fewer substance, the experience of an over aestheticization of the world, an explosion of sensuality grounded in massive part in the enlargement of corporate advertising and organizational aestheticization. Now while this is maybe one thing we could initially welcome, for as I advised above, who wouldn’t want to stay in a extra aesthetically stimulating world, we must also be sensitive to its potential risks. Perhaps the most immediate of those being the danger of an over-stimulation of the aesthetic5 – which in turn numbs our faculty of experience and judgement – a fear

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echoed by Welsch (1997, p. 25) recognizing as he does that: our perception wants not only invigoration and stimulation, however delays, quiet areas and interruptions too … Total aestheticization results in its personal opposite. Where every little thing becomes lovely, nothing is gorgeous any more; continued excitement leads to indifference; aestheticization breaks into anaesthetization. Thus, once again in a similar vein to Baudrillard’s musings over the implications of an over-meditated society on the purposeful nature of the subject (see Hancock, 1999) Welsch counsels us on the dangers of a world made ‘too beautiful’, one by which the primary hazard is the loss of our faculty for aesthetic experience and judgement within the face of an over-aestheticized world. This might not simply be a problem of the potential anesthetization of society however. For it also has essential implications for the likes of Adorno’s view of the aesthetic as a probably emancipatory drive in modern society. For reduced to what appears to be an omnipresent dimension of the everyday in general, and the company in particular, the diminution of aesthetic experience can only neutralize its distinctive mimetic character – its capability to conceive of the world in non-conceptual terms – and in flip witness what’s left of it resurrected as little greater than a mechanism of conceptual identification, relating stimulus to brand, expertise to firm or organization. It isn’t then maybe a query solely of anesthetization, however quite the political implications of an aestheticized surroundings more and more driven by the standardized
company aesthetic; one that embraces our everyday lives telling us its beautiful but unfaithful things and, in doing so reducing the aesthetic to little greater than one more instrumental provider of reified ‘reality’ over utopian risk.

Conclusion
I mistrust all systematizers and avoid them. The will to a system is an absence of integrity. (Nietzsche, 1889/1990, p. 35) Human history has been characterised by a elementary battle between the forces of summary order and embodied, sensual experience. Yet modernity has witnessed, in large part, the triumph of the previous, ushering in an age of reason, of methods and ultimately the dominion of production6. So when Wilde observed that for artwork to have aesthetic worth it should tell lovely unfaithful issues he was, in part, appropriate. For he

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recognized that actuality, as we experience it, has lost its magnificence. Rather, what we now have nows a world of order and id in which what is taken as beauty, or indeed some other facet of genuine aesthetic expertise, is merely an ‘appendage of the method of production, without autonomy or substance of its own’ (Adorno, 1951/1978, p. 15). Of course what he forgot was that it doesn’t necessarily imply that what artwork reveals to us is unfaithful; merely that it’s lacks truth in a world of even larger falsehood. Perhaps it is somewhat more helpful to understand that it’s the drive to systematically aestheticize organizational life that’s actually the realm of the gorgeous unfaithful issues. For somewhat than providing the expressive and conceptual house for aesthetic expertise to bloom and to flourish in no matter means it’d, it in reality intensifies the Enlightenment project of incorporation, looking for to reintegrate the aesthetic into the realm of calculable data and sensible utility. Yet in doing so, it not solely debases the aesthetic, depriving it of that which is genuinely equivalent to it, but also potentially renders it ineffective in its personal trigger as properly as depriving humanity of its radical potential, its potential to permit us to expertise things aside from they’re. Reduced to yet one more software of the
organizational technocrat, the neutralization of the aesthetic dangers turning into absolute, rendering it indistinguishable in a world the place aesthetic experience is decreased to nothing greater than the deadened apprehension of the sterile landscape of society, and judgement the affiliation of a contrived meaning with a trendy corporate livery.

Notes
1. An informative consideration of this explicit proposition can be found in the work of both Elizabeth Jagger (2000) and Rachel Russell (2000) in Hancock et al. (2000), on the themes of the patron and the moral body respectively. 2. While this chapter focuses, in particular, on the work of Adorno and Marcuse as advocates of the aesthetic as a realm of negation and potential liberation, it is a theme that features strongly within each Nietzschian and other examples of post-Nietzchian philosophy apart from that of the Frankfurt School. While in The Gay Science (1882/1974), Nietzsche himself declared that the aesthetic life represented the very best expression of the ‘will to power’ more just lately, for instance, Jean-François Lyotard (1979/1984) has declared, in a rather related vein to Adorno, that it is maybe only via the expertise of the sublime that we are able to experience the world non-conceptually, and thus free from what he considers to be the totalizing tyranny of modernity. 3. For these unfamiliar with the emergence of a self-conscious crucial faculty of thought throughout the subject of group research, a spread of informative assets exists. Today, perhaps the 2 most vital strands of thinking in

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this area belong to what are commonly termed Labour Process Theory and, more recently, Critical Management Studies. The former is represented nicely by Thompson (1983/1989), while the emergence of Critical Management Studies is charted in an informative if critical article by Fournier and Grey (2000). four. Indeed, this relationship, one may argue, is much far older than capitalism. Since antiquity, organizational energy has, on innumerable occasion, been symbolized and buttressed by way of grand architectural design, flamboyance of grab and the aesthetics of rite and ritual. One need only contemplate the architectural marvels of Ancient Egypt, Greece and Rome, or the
iconography of the royal courts and spiritual institutions of the Middle Ages for a stark illustration of this. 5. Adrian Carr (2002) and Russell Meares (1992) have warned that, at a more basic degree, there are psychological consequences of an setting that’s overstimulating. A phenomenon dubbed ‘stimulus entrapment’ might ensue. Stimulus entrapment is a notion that by way of continual exterior hyper-attentiveness, an individual fails to develop an ‘inner self voice’ and, as a result, experiences emotions of ‘emptiness’. A lack of a capability to self reflect, makes these people vulnerable to exterior locus of control and/or to a false self that’s usually one dimensional. ‘They stay as if on the mercy of the surroundings, in a hypertrophy of the “real” ’ (Meares and Coombes, 1994, p. 66). Further, Carr (2002) argues that the increasing tempo of our capitalist society, that demands the instantaneous, has itself demanded and sustained a state of external hyper-attentiveness, maintaining a necessity for societal personas whereas simultaneously mitigating towards individuality. 6. A level acknowledged by Adorno (1944/1979, p. 231) when he noticed how ‘Europe has two histories: a well-known, written historical past and an underground historical past. The latter consists in the fate of the human instincts and passions which are displaced and distorted by civilization … The relationship with the physique is maimed from the outset.’

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Index
academia, 5, 39, 43, 46, forty nine Adorno, T., 3, 7, eight, 9, 10, 12, 13, 17, 18, 20, 22, 33, 34, 35, 47, 137, a hundred and fifty five, 169, 170, a hundred seventy five, 176, 189, a hundred ninety, 192 Adorno, T., and Horkheimer, M., 17, 18, 19, 21, 22, 34, 35, 36, 177, 189, 191 promoting, 17, 19, 34, 60–1, 96–8, one hundred, 168, one hundred eighty, 186–7 aesthetic(s), ninety four, 95, a hundred and one, one hundred fifteen, 117–25, 129, 156–8, 175–6 interpretation of management, 138, 140 labour, 69, 161–2, 179 aestheticization, 115, 181, 186–7, 191 of the on a daily basis, sixty seven, one hundred ninety, 192 Agger, B., 33 Alimo-Metcalfe, B., and Lawler, J., 116 Altman, K., 103, 108, 111 Alvesson, M., and Berg, P., viii Alvesson, M., and Deetz, S., one hundred twenty anaesthetics/anaestheticization, 136–7, 155–9, 160–2, 168, 173 anankastic aesthetic, 117, a hundred and twenty, 123, 132 Anderson, W., forty nine anthropomorphization, 125 Aragon, L., 16 arcades project, 160 archaeological
strategy, ninety five, 102 structure, ninety three, 135–6, 138–53, 155, 157, 159, 160–1, 163–7, 169–72, 180, 185 zero-architecture, 156, 162, one hundred sixty five, 167, 169 art and aesthetics as a form/mode of knowledge, x, 8, 12, 20 as a way of understanding organisation, x, 3, 6 as a software of management control, 71, 137 as the ‘Great Refusal’, 7, 15 critical dimension, eight, 22 enigmatic character, four, 7, 11–12 justice, 5–6, 51–63 language-like character, x, three, 8, 17, 118 latent important content, 12 mimetic character, four, 7, 9, 11, 13, 192 reconciliation with justice, 51–2, fifty five, 62–3 art-architects, 161, 164, 167, 170 artefacts/artifacts, 71–5, 90, 93, ninety five, 140, one hundred forty four, 149, 178, 182 art work, 127 autonomously generated, 7, 12 rubus-like face, eleven authenticity business, 188 Bakhtin, M., 87, 88 Ball, K., 116 Banham, R., 156, 163, 164, a hundred sixty five Banta, M., 142 Barker, J., 101, one hundred and five, 106 Barnard, C., 162 Barley, S., 148 Barr, A., 140 Barris, R., 139, 151 Barrett, F., one hundred and one Barry, D., and Elmes, M., 94, 112 Bastien, D., and Hostagier, T., one hundred and one Baudrillard, J., 44, 70, 129, 132, 181, 192 Baumgarten, A., ix, 94 Beautiful Corporations: Corporate Style in Action, viii, 184 beauty blindness, 52, fifty four, 62, 109, 119 Benetton, fifty five, fifty nine, sixty one 210

Index

211

Benjamin, W., 3, 7, eight, 9, 10, 11, 12, 13, 15, sixteen, 17, 26, 30, 33, 34, 35, 136, a hundred and fifty five, 156, a hundred and sixty, 170 Berg, P., and Kreiner, K., 177, 180 Berger, P., and Luckman, T., 39 physique, 55, 69, 115–32, 162, 172, 193–4 aestheticization of, 115–32 consuming body, 54, 129, 193 labouring physique, 54, fifty six, 123 managerial body, 69, 115–32 sense-making body, 54 without-organs, 124 Bollas, C., a hundred thirty, 131 Booth, M., ninety four Bourdieu, P., 52 Brave New World, 136, one hundred fifty five, 157, 159, 166, 171 Braverman, H., fifty five, 172 Brawer, R., ninety four, one hundred and one Brecht, B., 15, 28 Breton, A., 13, 14, 15, 24, 25, 32, 34 Burrell, G., 20, 21, 22, 23, 25, 26, 30, 31 Burrell, G., and Dale, K., one hundred sixty Burrell, G., and Morgan, G., 21 Butler, J., a hundred and fifteen, 124, one hundred twenty five, 126, 127, 128, 131 Butler, O., ninety three, 96, 112 name centres, sixty seven, 70–5, 78–80, 87–8, 92 Campbell, J., 130 capitalism, 18–19, 36, fifty five, fifty nine, sixty three, 128–9, 131, 156, 164–5, 168, 174, 176–7, 179–80, 189, 194 carnival, 87–90 Carr, A., viii, x, three, four, eight, 9, 20, 22, 23, 28, 29, 30, 37 Carr, A., and
Meares, R., 194 Carr, A., and Zanetti, L., viii, x, eight, 20, 23, 27, 33, 37 Carter, P., and Jackson, N., 117, 118, one hundred fifty, 151, 178, 179 Cary, M., one hundred and one Casey, C., 123

causa efficiens, 34, 49 causa finalis, 39 Caws, M., 14 Clark, K., and Holquist, M., 88 Clegg, S., 94, a hundred and one Collinson Grant Consultants, 71, eighty commodification, 128, 129 Comte-Sponville, A., 9 concertive management, 105 Conrad, C., a hundred and one consumption, 18, fifty two, 55, sixty three, 111, 128–9, 131, a hundred and sixty, a hundred and seventy Cooper, R., and Burrell, G., 28 Cooper, R., and Sawaf, A., 175 Corbett, H.W., 168 corporate, one hundred twenty, 139, 141–2, 145–6, 152–4, 168–9, 180–2, 186 aesthetics, 181–3, 186, 192 structure, 136–6, 138, 139, 141, 143, 146, 149, one hundred fifty, 169 culture, 127, 141, 143, 186 identification, 168, 180 Crimmins, G., 27 important character, 101–2 important management research (CMS), 101–3, 112, 128, 136, one hundred fifty five, 160, 173, 194 important concept, ix, 3, 7, 9, thirteen, 176–8 Cropanzano, R., fifty three tradition, one hundred sixty five, 170 as mere amusement, 12, 17 instrumentalization of, 177, 179, 189, a hundred ninety culture industry, 12, 17–22, 33–4, 36, a hundred and seventy, 189–91 patterned and pre-digested products, 8 suppression of crucial ‘function’ of art, 12, 17 Curtis, S., forty eight Curtis, W., 167 Czarniawska-Joerges, B., 103 Czarniawska-Joerges, B., and Guillet de Monthoux, P., 93, 101

212 Index

Dada, 34 Dale, K., and Burrell, G., 125 Dandridge, T., 71 dazzle, 136, a hundred and fifty five, 160–2, 168–9 Deal, T., and Kennedy, A., 175 Dean, J., Ramirez R., and Ottensmeyer, E., fifty six Debord, G., 37 Derrida, J., 23, 24, forty four, 127 de-sensitization, 136 design, 27, 32, 60, 96, 111, 139–40, 156, 165–6, 168, 170–5, 178, 180–8, one hundred ninety, 194 inside, a hundred seventy five Dewey, J., 102 dialectic, 4, 9, 12–17, 22, 26–7, 33, 34, 36 Dickinson, P., and Svensen, N., viii, 184, 185, 186, 187, 190 diffusion of aesthetic concepts, viii discipline/disciplinary, 70, 106, 126, 128 Discipline and Punish, 70 dissociation of sensibilities, 15, 29 Dobson, J., fifty six Dougherty, D., and Kunda, G., 73 Douglas, M., one hundred twenty five, 126 Døving, E., a hundred twenty five desires, 27, 32, 35, ninety nine dressage, 126, 162 Eagleton, T., viii, 118, 123 Edwards, R., 55 Eco, U., 107 enigmatic, high quality of art works, 4, 7, 11–13 Enlightenment, 24, 35, 89, 174, 193 estrangement-effect, 4, 15,
16, 27–8 Etzioni, A., 143 Falk, P., 129 Farmer, D., 20, 21, 22, 23, 30 Featherstone, M., 176, 177, 186, 190 Fernie, S., and Metcalfe, D., 70, 78

Feyerabend, P., forty three, forty seven, 49 Fineman, S., 149, 161 Fiske, J., 191 Flyvbjerg, B., 39, forty seven Ford, J., and Harding, N., 116 Foucault, M., 24, 28, fifty two, 70, seventy eight, 89, ninety one, 124, one hundred twenty five, 126, 128, 132 Fox, A., and Flanders, A., 92 Frampton, K., 172 Frankfurt School, x, 3–4, 7–10, 12, sixteen, 20, 22–3, 26, 28, 34, 36, 176, 191, 193 Freeman, M., 154 French, J., and Raven, B., 47 Freud, S., 14, 34, 124 Fuentes, C., 28 Gagliardi, P., viii, 71, ninety five, 112, 144, 149, 177 Gardiner, M., 29, 33, 34 Gardner, D., 175 Geddes, B., one hundred seventy gender, fifty five, 118–20 generative self-discipline, 106 Gerth H., and Mills, C. Wright, 70 Giroux, H., 19, 22 Gonzalez-Echevarría, R., 29 Gorawara-Bhat, R., 53 Gottdiener, M., ninety three Grant, D., Keenoy, T., and Oswick, C., ninety three, 95 ‘Great Refusal’, 7, 15 Greenberg, J., fifty four Gropius, W, 163, 167 Guillén, M., viii, 163, 164, one hundred sixty five, 166, 156, 162 Habermas, J., 176 Hancock, P., 192, 193 Hancock, P., and Tyler, M., viii, 69, a hundred and fifteen, one hundred twenty, 128, 161, 188 Handlin, D., 167, 168 Handy, C., 21 harmony, 125, 147 Harvey, D., 128, 172 Hatch, M., seventy eight, a hundred and one, 147, 151 Hazen, M., 112

Index

213

Held, D., 12, 18, 19, 33, 169, a hundred and seventy Hill, V., and Every, P., forty four Hitchcock, A., four, 5, 38, 39, forty one, forty three, forty four, 46, 48 Hockney, D., 4, 5, 38, 40, forty three, 48, forty nine Hochschild, A., fifty five, 161 Hodge, R., and Kress, G., 93 Höpfl, H., 178 Hohendahl, P., 33 Homer, 36, 37 Honderich, T., 35 Hughes, R., 40 Human Relations, viii human relations theory, 172 human resource administration 73, 86, 186 Huxley, A., 136, a hundred and fifty five, 157, 158, 159, 171 ideology, 88, ninety one, 118, 167, 179 discursive structure of, 103, 111 incentive schemes, ninety, ninety two ‘iron cage’, fifty five, 57–60, 69 Jackall, R., 58 Jackall, R., and Hirota, J., 55, 60, 61 Jackson, N., and Carter, P., 126 Jacobson, M., 175 Jameson, F., 34, 123, 128, 129, a hundred thirty, 131, 132 Jay, M., 10, 33 Jeffcutt, P., seventy two Johnson, M., 122 justice, 5–6, 51–64 Kahn, A., 156, 162, one hundred sixty five, 166, 167, 168, 171, 173 Kant, I., 12, 19, 30, 174 Kerfoot, D., 122 Kinnie, N., Hutchinson, S., and
Purcell, J., 86 kitsch, 17, 34–5 Klein, N., fifty nine, 60, 63, 181 Knights, D., 89 Knights, D., and Odih, P., 71, seventy eight, 79

Knights, D., and Vurdubakis, T., seventy one Knights, D., and Willmott, H., 89 Kress, G., and Leeuwen, T. van, 93 Kumar, K., 24 Kvale, S., 25 labour process theory, 54–6, sixty two, 172, 194 Lampe, L., 149 language, 8, 11, 13, sixteen, 21, 23–5, 31, 102, one hundred and five, 118, 123–4 art as language-like, x, 3, eight, 11, 17, 20 mediate the mimetic assimilation of self to different, 11 Larsen, J. and Schultz, M., 178 Lash, S., 124 Le Corbusier, 163, 164, 166, 167 Leach, D., 169 learning organizations, 150–1 Lears, T., 103, 106 Legge, K., 186 Levin, M., 60 Lewis, G., 101 Linstead, S., 117, 125 Linstead, S., and Höpfl, H., vii, 71, 117 Littler, C., 164 Lupton, D., 129 Lyotard, J., 8, 23, 193 magic realism, 28–9 administration as a tradition business, eight, 21 Mangham, I., 101 Marcuse, H., 3, 7, eight, 12, 13, 15, sixteen, 17, 19, 26, 27, 28, 33, 176, 177, 193 Mark-Walker, D., 40, 49 Marx, K., 129, 155 Mattern, M., ninety four, 102, 103, a hundred and five Mazumdar, S., and Mazumdar, S., 151

214 Index

meaning, 12, 24, 26, 32, 38–41, 43–4, 46–7, 50, fifty three, 68, 72, ninety four, one hundred and one, 103, 105, 106, 108, 117, one hundred thirty, 139, a hundred and fifty, 152, 157, 169, 187 superimposed upon analysis subjects, 4–5, 38 Meares, R., and Coombes, T., 194 Mestrovic, S., 137, 175, 188, 189, 190 metaphor, 4–6, 14, 26, 32, 38–8, 44–5, forty seven, forty nine, 51, 56–9, 62–3, 102–3, 125–6, one hundred forty metonymy, 5 Mies van de Rohe, L., 163, 168 mimetic, 4, 10–13, 17–18, a hundred twenty five, 192 as a human college, 7, 10, 11 Mintzberg, H., 116 Mondak, J., 101 Montuori, A., 49 Morgan, G., fifty five, 57, 58, 143 Muschamp, H., 59 Nicholsen, S., 10, 11, 12, 33 Nietzsche, F., 9, 25, 39, 44, 47, 48, 49, 192, 193 nihilism, 25, 37, forty four, forty eight Nike, 59, 60 Nissley, N., a hundred and one Noddings, N., 55 object–relations theory, 129–31 O’Doherty, D., and Willmott, H., 128 O’Donnell, J., 112 Odysseus, 36 Olins, W., viii, one hundred eighty one-dimensionality, 15 optocentric/optocentrism, 164 Organization, viii, 162 Organization Science, 101 organization research, viii, 3–4, 6, fifty three, sixty two, 94, ninety five, 101, 177, 193 as a culture business, 21 organizational songs, 68, 93–114 Osborne, T., 52 Ottensmeyer, E., 64

Parker, M., 125, 186 pathos, 70, 119 Perry, L., one hundred and one perspectivist method, forty nine phantasmagoria, 136, 155–6, 160–2, 168–9, 171 Philip Morris, 59, 61 photography, 40, 44 Pirsig, R., 43 Plato, 174 play, 39, 44, forty six, 48, 71, 87, 119–20 playfulness, 25–6 Pollock, G., 118, 119, 122 Pollock, L., a hundred seventy five postemotional society, one hundred ninety postmodernism, ix, 23, 25, 27, 126, 128–31 affinity with work and strategies of surrealists, 20, 23, 26, 31 death-of-the-subject/author, 23 it’s all within the textual content, 23 energy, 9, 18–19, 52, 56–7, 63, sixty seven, 69, 71–2, 78, 87–8, 90–2, 93–114, 115–32, 152, one hundred sixty, 178, 185 different forms of, seventy one, 102 energy to, 102–8 power over, 90, 102, 108–11 power/knowledge, 89, ninety Pringle, H., and Thompson, M., 55 Pritchard, C., 122 ‘profane illumination’, 16, 27 Ramirez, R., fifty two Rand, A., 49 Rasmussen, D., 10, 22 rationality, 13–15, 19, 23, 25, 27, 29, 31–2, 33–5, forty seven, seventy two, eighty three, 91, 94–5, 153, 162, 189 and non-rational, 22 Rear Window, 4–5, forty one, forty three, 45–8 reconciliation of aesthetics and justice, 5–6, 51–2, 55, 62–3 Reichert, D., 121 relativism, 10

Index

215

representation, 5, 9, 24, 28, 36, 38, 40, 43–4, 47, forty nine, 119, 122, 127 researcher, 43, 47–9 as exhibitionist 5 as voyeur, 5 resistance and management, 62, seventy three, 84, 118, 120, 123, 139 Ritzer G., 55, 58, ninety one Rocco, C., 18 Rochlitz, R., eight, 9 Rose, J., 119 Rose, N., 125, 129 Rosenau, P., 24 Rustead, B., viii, 53 Said, E., 52, 151 Scarry, E., fifty one, fifty two, sixty two Sarup, M., 24 Sassen, S., 171 Sawin, M., 27 Schein, E., 144 Schmitt, B., 181, 183, 184 Schmitt, B. and Simonson, A., 181, 183, 184, 185, 186, 188 Schmitt, B., Simonson, A., and Marcus, J., 181, 182, 183 scientific administration, one hundred thirty five, 138–40, 142–3, a hundred and fifty, 153, 154, 163–4 Scott, W., 143 Seidler, V., 122 self, 7, 10–11, 24, 33, 90–2, 129–32, 141 as an aesthetic project, seventy three, 88, 89, 91 Selznick, P., 167 semiotics, 93, 122, a hundred thirty five sensorium, 136, 155, 157, 160–2, 171, 172 sensual, ix, a hundred ninety, 192 Shildrick, M., 123 Shilling, C., 129 Sicca, L., one hundred and one Sidky, M., and Kersten, A., 151 Silverman, D., viii, 72 Silverman, K., 121, 122 Sim, S., 44

Skidmore, Owings and Merrill (SOM), 156, 168, 173 Smith, R., and Doel, M., 128 social amnesia, 15, 19 sociology, x, 51, fifty four, 124 of the physique, 124, 128–9 Solomon-Godeau, A., 122 Spector, J., 29 specular consumption, 131 Steele, F., one hundred forty, 150 Stewart, R., 116 Stewart, R., Barsoux, J., Kieser, A., Ganter, H., and Walgenbach, P., 116 stimulus entrapment, 194 Strati, A., viii, 39, fifty three, fifty four, fifty seven, fifty eight, ninety one, 94, ninety five, 112, 117, 119, a hundred and twenty, 147, 156, one hundred fifty five, 177 subject/object dichotomy, 19, 48, 50, 117 subjectification, 69, 115–32, 151 sublime, the, 119, 193 surrealism, four, 8, 13–17, 22, 25, 27, 33–5 desires, 14 estrangement-effect, 15–16, 27 management and organization studies, 22 techniques, 23, 25–6 surveillance, 68, 70–1, seventy eight, 87, ninety, ninety two, 151 Swisher, J., 112 synecdoche, 5 Synott, A., 121 Taylor, F., 141, 142, 143, 146, 147, a hundred and fifty, 154, a hundred sixty five Taylorism, 135, 138–43, 146, 148–50, 153, 156, 162–6, 172 Taylor, P., and Bain, P., 78 Taylor, S., 94, one hundred and one, 112 Taylor, S., Fisher, D., and Dufresne, R., 106 Third International Conference on Organizational Symbolism, viii Thomas, R., fifty four, fifty six, 58, 62 Thompson, P., 194

216 Index

Thompson, P., Warhurst, C., and Callaghan, G., viii, 178 Trodd, C., 44 Turner, B., viii, 124 ugliness, 57 Upton, D., 164, one hundred sixty five Urry, J., 188 Venturi, R., Scott-Brown, D., and Izenour, S., 164 Waldberg, P., 31 Warhurst, C., and Nickson, D., 69, 115 Weber, M., fifty five, 57

Weick, K., viii, a hundred and one Welsch, W., viii, 136, 137, a hundred and fifty five, 156, 157, a hundred and sixty, 169, a hundred seventy five, 176, 177, 181, 192 Wiggershaus, R., 35, 36 Wilde, O., 174, one hundred ninety, 192 Wilkinson A., and Willmott, H., ninety two Windle, R., ninety four, a hundred and one Winnicott, D., 10 Witkin, R., 178 Wolin, R., 33 work, 53–5, 72, 87–9, 141, 142, 146, 154, 161 as an aesthetically ordered exercise, x, 67

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