Power politics and the Indonesian military

This book, based on extensive original research, examines the role of the military in Indonesian politics. It looks at the role of the military historically, examines the different ways it is involved in politics, and considers how the role of the military might develop in what is still an uncertain future.

Managing complexity and insitutionalization : power and politics in ERP implementation in an Australian university

This chapter reports a case study of ERP implementation in an institution of higher education. The ERP is one based on integration of administrative tasks based on Oracle® systems and is successful both in terms of its embeddedness in institutionalized practice and in supporting that university's operations. The key issue that emerged from the study showed that understanding complexity, institutionalized practice, and the power relations in existence enable the implementation to be more effective, as it can be managed when understood. The chapter argues that organizations reproduce practice and that an ERP challenges that. To deal with that challenge, social dramas emerge wherever power exists, and the resulting conflicts challenge the effectiveness of the systems put in place. In this case study, the key role of the project champion in resolving the social dramas became evident.

How style came to matter : do we need to move beyond the politics of representation?

In response to the increasing difficulties facing museums that attempt to work within a pluralist framework as a strategy for representing cultural diversity, this essay argues for the need to move beyond a characterisation of museum work as either progressive or conservative, pluralist or consensual. Central to my arguments is an attempt to extend our understanding of possible narrative structures in museums by focusing on questions of style as much as of content. I do this by looking back at two case studies in which questions around the political intent of narrative structures were determined as much by the form of the exhibition as by its content. This focus enables are cognition that fragmentary narrative styles are not by definition associated with alack of strong narratives. Quite the contrary. An alternative approach to exhibition making might therefore lie in an approach that moves away from eclecticism but does so not by returning to progressive, chronological narratives but by privileging an understanding of 'shared experience'. I attempt to open up what I mean by this term towards the end of the essay.