In the last issue, Rob Hill and Geoff Shepherd gave a critical account of the Transitional Employment part of the Clubhouse programme. This has produced strong reactions, and here…
Abstract
In the last issue, Rob Hill and Geoff Shepherd gave a critical account of the Transitional Employment part of the Clubhouse programme. This has produced strong reactions, and here Colin MacLean takes issue with both their premises and their conclusions. What about the user/member view? Watch this space…
The Clubhouse model is described, from the perspective of an early innovator. Some of the strengths of the model, as one component of a comprehensive local service, and potential…
Abstract
The Clubhouse model is described, from the perspective of an early innovator. Some of the strengths of the model, as one component of a comprehensive local service, and potential weaknesses arising from incomplete replication, are highlighted.
Recently the Royal Society held a briefing to explain what BSE is, how it may have arisen, the possibilities of it being transmitted to human beings and to describe some of the…
Purpose – This chapter examines the interactions among wholesale betel nut traders within Papua New Guinea’s (PNG’s) flourishing, contemporary, and indigenous betel nut trade. It…
Abstract
Purpose – This chapter examines the interactions among wholesale betel nut traders within Papua New Guinea’s (PNG’s) flourishing, contemporary, and indigenous betel nut trade. It explores the nature of the “social embeddedness” of the trade and how particular “place-based” practices and ideas shape people’s engagements with markets.Methodology/approach – Multisited ethnographic research focused on betel nut traders.Findings – This chapter highlights how local ideas about sociality and exchange shape the copresent rivalry and companionship that characterize interactions among Mt. Hagen’s betel nut traders. Traders travel long distances and take great risks to buy betel nut. They travel together, share resources, and trade in the same places, and through this they become part of one another’s social networks. This creates the expectation that traders will cooperate, consider other traders in their actions, contribute to each other’s safe-keeping, and act collectively in their interactions with producers. This does not preclude competition, however. Traders compete for profits, but the competiveness of their interactions is also influenced by a concern for status. This copresence of companionship and rivalry, which pervades Hagen sociality more broadly, is central to shaping the trade as a whole.Originality/value of the chapter – Betel nut is the most important domestic cash crop in PNG, and selling betel nut is a prominent livelihood activity for rural and urban people. This chapter reports some of the findings of the first detailed study of the betel nut trade in PNG.
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The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions…
Abstract
Purpose
The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody.
Design/methodology/approach
The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios.
Findings
The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions.
Research limitations/implications
This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework.
Practical implications
The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody.
Originality/value
The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.
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Colin M. Fisher, Ozumcan Demir-Caliskan, Mel Yingying Hua and Matthew A. Cronin
Organizational scholars have long been interested in how jazz musicians manage tensions between structure and freedom, plans and action, and familiarity and novelty. Although…
Abstract
Organizational scholars have long been interested in how jazz musicians manage tensions between structure and freedom, plans and action, and familiarity and novelty. Although improvisation has been conceptualized as a way of managing such paradoxes, the process of improvisation itself contains paradoxes. In this essay, we return to jazz improvisation to identify a new paradox of interest to organizational scholars: the paradox of intentionality. To improvise creatively, jazz musicians report that they must “try not to try,” or risk undermining the very spontaneity that is prized in jazz. Jazz improvisers must therefore control their ability to relinquish deliberate control of their actions. To accomplish this, they engage in three interdependent practices. Jazz musicians intentionally surrender their sense of active control (“letting go”) while creating a passive externalized role for this sense of active control (using a “third ear”). Letting go allows new and unexpected ideas to emerge, while the metaphorical third ear can identify promising ideas or problematic execution and, in doing so, re-engage active agency (“grabbing hold”). Examining the practices within creative improvisation reveals the complexity of the lived experience of the paradox, which we argue suggests further integration among organizational research on improvisation, creativity, and paradox.