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The author argues that we must stop and take a look at what our insistence on human labour as the basis of our society is doing to us, and begin to search for possible alternatives. We need the vision and the courage to aim for the highest level of technology attainable for the widest possible use in both industry and services. We need financial arrangements that will encourage people to invent themselves out of work. Our goal, the article argues, must be the reduction of human labour to the greatest extent possible, to free people for more enjoyable, creative, human activities.

Through all the villains that James Bond has encountered on his globe-trotting adventures – from Dr No to Auric Goldfinger, Drax to Le Chiffre and Rosa Klebb to Xenia Onatopp – one villain has remained a constant threat to both Bond and world security. Whether hiding behind a corrugated screen, living on a mountain top lair, working from a hollowed-out volcanic rocket site, or sitting in a wheelchair, Ernst Stavro Blofeld has proved time and time again to be a thorn in Bond’s side.

This chapter will investigate the changing appearances of Blofeld across the Eon Productions’ film franchise. It will consider the concept of Blofeld as Bond’s alter-ego, whilst offering in-depth analysis of just how – and why – this master-nemesis remains firmly rooted in Bond’s filmic adventures, whilst cementing his position as the villain most associated with the series.

The rise of aesthetics within organizational studies has been met with enthusiasm by a growing coterie of scholars. Aesthetics, it is claimed, offers a dimension that has been missing in a discipline that has been dominated by instrumental approaches. It is not surprising, then, that Pierre Guillet de Monthoux, one of the field's champions, asserts that “if the German artist Joseph Beuys … was right in claiming that art is tomorrow's capital, it seems reasonable to consider aesthetics its new organization theory” (Guillet de Monthoux, 2000, p. 35).