Dying in the arts: creativity as metaphor

The idea that organizations need to adopt structures and practices that facilitate 'creativity' has become a central theme in theories of managing organisational innovation and success. This idea has been deployed in organisational theory, HRM, marketing and other domains of organization studies. We argue, however, that in the process of being appropriated from the arts, the concept of creativity has been 'hollowed out' and refashioned to suit the structures of organization as institution, and its needs as a business organization (to make money and establish 'competitive advantage'). This devalued idea of creativity has, in turn, been imposed on arts organisatons, which are impelled to see themselves as 'creative businesses'. Creativity, has been defined as a set of imaginative practices intended to express original ideas, and is in need of defence.

The consumption of gift wrapping

Gift Wrapping is part of a valued ritual of giving that is important culturally, socially and economically. Consumer researchers have studied the process and meanings of gift giving with little consideration for the gift wrapping. The way a gift is wrapped involves a complex range of decisions and meanings. Building on existing literature we propose a model based on existing models of the gift giving process. Our model is based on value, context, relationship, and appropriateness of consumption as perceived by the donor.

Making up (for) society? Stitch, bitch and organisation

We discuss the emergence of the craft movement known as Stitch’nBitch. Prevalent around the globe, particularly among women, this movement organises in local places, such as hotels and cafes, and virtually using the Internet. The women meet to knit, stitch and talk, using new technologies as an enabler and resource exchange. At the same time, their presence can be seen, in part, as a response to social and technological changes, both at work and in wider society. We introduce five themes to assist in the interpretation of this new form of organising, discussing (1) remedial, (2) progressive, (3) resistance, (4) nostalgic, and (5) ironic possibilities and we draw on illustrative interview data to outline possibilities for further research.

Consumer traits: an investigation of influences

This study uses a hierarchical approach to build a model of the relationships between Consumer Need for Uniqueness (CNFU), Consumer Novelty Seeking (CNS), and a behavioural outcome, media consumption and information exposure. The study finds that those consumers who have a need for uniqueness are high in consumer novelty seeking tendencies. Subsequently, these consumers are found to have higher information exposure by consuming more media.

Deakin family portrait

Pictured anti clockwise: Alfred Deakin, Ivy Deakin, Stella Deakin, Sarah Deakin (Alfred Deakin's mother), Vera Deakin, Pattie Deakin (Alfred Deakin's wife), Catherine Deakin (Alfred Deakin's sister)

Ivy Brookes presenting the Alfred Deakin papers to the National Library of Australia

Alfred Deakin's daughters seated in the foreground from left to right: Lady Vera White, Lady Stella Rivett and Ivy Brookes; Professor J. La Nauze (Deakin's biographer) is the standing gentleman, second from the left; the Hon. Robert G. Menzies is standing on the far right next to the desk

Portraits of Alfred Deakin and his family

From left to right: Stella, Pattie, Ivy, Alfred, Vera.

Organization, decoration

While organizational decoration has been of interest to those who study organizational artefacts, we suggest four ways in which decoration is worthy of fuller attention in organizational studies. First, decoration, ornament and embellishment are not only what we see, but also what we do as managers, consultants, writers and designers of both physical and project spaces. Second, and drawing on the art/craft debate, we note that decoration occupies contested and even liminal aesthetic position and that ‘decorative art’ lies betwixt and between fine art and craft. Neither fully accepted nor fully marginalized, decoration is ‘only applied’ and embodies shifting tensions between form and function. Third, we review the particular negotiations of these tensions at the Bauhaus, a controversial and highly influential aesthetic organization in early 20th century Germany. Fourth, we suggest that decoration, like disorganization, provides a source of complication for organizational studies that are neither pure nor parsimonious.

Organizational decoration : a new metaphor for organization development

The authors call for the introduction of a new metaphor, organizational decoration, to provide a way of conceiving organizational development (OD) as an aesthetic endeavor. First, this is a response to recent calls for fresh and more interdisciplinary approaches to thinking about the practice of OD. Second, it is a provocation, for their choice of decoration is also a call for greater humility in OD’s ambitions. Rather than seek a more strategic or architectural role for OD, organizational decoration works instead at the surface and in the realm of the aesthetic. And within that realm the authors have deliberately chosen decoration over design (a term far more familiar to OD) because decoration more closely represents the ordinary and often temporary contributions that the authors advocate. Implications of moving OD down-market are discussed.

Stich`n bitch: cyberfeminism, a third place and the new materiality

We discuss the emergence of a new craft movement known as Stitch'nBitch. Prevalent around the globe, particularly among women, this movement is based locally in places such as hotels and cafes, and virtually using the internet. The women meet to knit, stitch and talk. The groups use new technologies as an enabler and resource exchange. At the same time, their presence can be seen, in part, as a negative response to major political, social and technological changes including globalization, terrorism, damage to the environment and the dislocation of the Information Society. We introduce five themes to assist in the development of a research agenda into this new form of material culture, discussing (1) remedial, (2) progressive, (3) resistance, (4) nostalgic and (5) ironic possibilities. Each is considered in terms of their respective foci on community, cyberfeminism, craft, conservation and comment.

An exploration of relational customers` response to service failure

Purpose – The purpose of this paper is to examine how customers with different relational bonds respond to the same service failure. In particular, the framework to service failure and recovery devised by Fournier and Mick is applied.
Design/methodology/approach – To uncover rich emotional and cognitive responses to service failure, in-depth interviews with eight former and current patrons of an Australian opera were used.
Findings – Three types of relationship were identified: satisfaction-as-love (SaL), satisfaction-as-trust (SaT) and satisfaction-as-control (SaC). Each responded to the same failure in different ways. SaL customers had emotional bonds with the product category and thus reaffiremed their loyalty following the failure. SaT customers saw the service failure and inadequate recovery as a breach of the brand's implied promise and thus excited the relationship. SaC customers took charge of the situation, using their status to improve their situation and then defended the brand.
Practical implications – The findings indicate the importance of customizing service recovery strategies, in this case to those customers with the strongest emotional bonds to the brand, not the product class.
Originality/value – This is the first paper to examine how relational customers respond to service failure and identify how different customer-brand relationships result in different post-failure reactions and expectations of service recovery.

A creative twist: management theory, creativity and the arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The article's starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.

Managerialism and the arts : a complete and utter bloody waste of time

Managerialism has been adopted with alacrity by Australian government agencies across multiple sectors. Studies of managerialism in concept and practice have been undertaken in some public sectors but not from a critical management perspective. This position paper examines the contribution of organization theory to an understanding of managerialism. Here we challenge the appropriateness and effectiveness of new managerialism generally, and for the arts in particular, through an analysis of conflict between an Artistic Director, General Manager and Board in a key Australian community arts organization. We call for further research into the appropriateness of management theory and practice for the arts; and seek better ways of managing our cultural capital.