By the same authors

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From the same journal

Feeling the Reel of the Real: Framing the Play of Critically Affective Organizational Research between Art and the Everyday

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Feeling the Reel of the Real : Framing the Play of Critically Affective Organizational Research between Art and the Everyday. / Linstead, Stephen Andrew.

In: Organization Studies, Vol. 39, No. 2-3, 01.03.2018, p. 319-344.

Research output: Contribution to journalArticle

Harvard

Linstead, SA 2018, 'Feeling the Reel of the Real: Framing the Play of Critically Affective Organizational Research between Art and the Everyday', Organization Studies, vol. 39, no. 2-3, pp. 319-344. https://doi.org/10.1177/0170840617717552

APA

Linstead, S. A. (2018). Feeling the Reel of the Real: Framing the Play of Critically Affective Organizational Research between Art and the Everyday. Organization Studies, 39(2-3), 319-344. https://doi.org/10.1177/0170840617717552

Vancouver

Linstead SA. Feeling the Reel of the Real: Framing the Play of Critically Affective Organizational Research between Art and the Everyday. Organization Studies. 2018 Mar 1;39(2-3):319-344. https://doi.org/10.1177/0170840617717552

Author

Linstead, Stephen Andrew. / Feeling the Reel of the Real : Framing the Play of Critically Affective Organizational Research between Art and the Everyday. In: Organization Studies. 2018 ; Vol. 39, No. 2-3. pp. 319-344.

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@article{4a31535b97de4a59b224a9f66ecca698,
title = "Feeling the Reel of the Real: Framing the Play of Critically Affective Organizational Research between Art and the Everyday",
abstract = "This paper considers a number of issues hampering the application of arts based“playful” methods in organization studies once the closerelationships between ethnography and aesthetic research, and theconnections between art and everyday experience, are recognised.Drawing particularly from the creative ethnographies of Kathleen Stewart,Dwight Conquergood and H. L. Goodall Jr it suggests that the performativenature of artistic cultural texts lies in their intention to move their audiencetowards new sensitivities, awareness, and even learning. Critique is notoppositional to such development, being essential for fully creativemovement. The paper therefore suggests that what is needed are criticallyaffective performative texts. For such texts to be socially, politically andepistemologically defensible, and thus a viable form for researchers toconsider adopting, it is necessary to understand how they work to generatecritical momentum, and what possible lines are available for justifying andevaluating creative approaches that challenge orthodox organizationalresearch in being neither objective, representational nor expressive. Thepaper outlines four “moments” of critical leverage – aesthetic, poetic,ethical and political - that work in play with each other to create powerfulartistic texts, and illustrates them by drawing on work-related literature,music, poetry and art, including workplace ethnographies. This frameworkenables the location or artistic and “playful” methods epistemologically andontologically relative to other modes of research and offers a robustjustification for their further use in the field of organization studies.",
keywords = "organizational aesthetics, organizational ethnography, cultural performance, critical affectivity, performance tests, arts-based methods",
author = "Linstead, {Stephen Andrew}",
note = "{\circledC} The Author(s) 2017. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details",
year = "2018",
month = "3",
day = "1",
doi = "10.1177/0170840617717552",
language = "English",
volume = "39",
pages = "319--344",
journal = "Organization Studies",
issn = "0170-8406",
publisher = "SAGE Publications Ltd",
number = "2-3",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Feeling the Reel of the Real

T2 - Framing the Play of Critically Affective Organizational Research between Art and the Everyday

AU - Linstead, Stephen Andrew

N1 - © The Author(s) 2017. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details

PY - 2018/3/1

Y1 - 2018/3/1

N2 - This paper considers a number of issues hampering the application of arts based“playful” methods in organization studies once the closerelationships between ethnography and aesthetic research, and theconnections between art and everyday experience, are recognised.Drawing particularly from the creative ethnographies of Kathleen Stewart,Dwight Conquergood and H. L. Goodall Jr it suggests that the performativenature of artistic cultural texts lies in their intention to move their audiencetowards new sensitivities, awareness, and even learning. Critique is notoppositional to such development, being essential for fully creativemovement. The paper therefore suggests that what is needed are criticallyaffective performative texts. For such texts to be socially, politically andepistemologically defensible, and thus a viable form for researchers toconsider adopting, it is necessary to understand how they work to generatecritical momentum, and what possible lines are available for justifying andevaluating creative approaches that challenge orthodox organizationalresearch in being neither objective, representational nor expressive. Thepaper outlines four “moments” of critical leverage – aesthetic, poetic,ethical and political - that work in play with each other to create powerfulartistic texts, and illustrates them by drawing on work-related literature,music, poetry and art, including workplace ethnographies. This frameworkenables the location or artistic and “playful” methods epistemologically andontologically relative to other modes of research and offers a robustjustification for their further use in the field of organization studies.

AB - This paper considers a number of issues hampering the application of arts based“playful” methods in organization studies once the closerelationships between ethnography and aesthetic research, and theconnections between art and everyday experience, are recognised.Drawing particularly from the creative ethnographies of Kathleen Stewart,Dwight Conquergood and H. L. Goodall Jr it suggests that the performativenature of artistic cultural texts lies in their intention to move their audiencetowards new sensitivities, awareness, and even learning. Critique is notoppositional to such development, being essential for fully creativemovement. The paper therefore suggests that what is needed are criticallyaffective performative texts. For such texts to be socially, politically andepistemologically defensible, and thus a viable form for researchers toconsider adopting, it is necessary to understand how they work to generatecritical momentum, and what possible lines are available for justifying andevaluating creative approaches that challenge orthodox organizationalresearch in being neither objective, representational nor expressive. Thepaper outlines four “moments” of critical leverage – aesthetic, poetic,ethical and political - that work in play with each other to create powerfulartistic texts, and illustrates them by drawing on work-related literature,music, poetry and art, including workplace ethnographies. This frameworkenables the location or artistic and “playful” methods epistemologically andontologically relative to other modes of research and offers a robustjustification for their further use in the field of organization studies.

KW - organizational aesthetics, organizational ethnography, cultural performance, critical affectivity, performance tests, arts-based methods

U2 - 10.1177/0170840617717552

DO - 10.1177/0170840617717552

M3 - Article

VL - 39

SP - 319

EP - 344

JO - Organization Studies

JF - Organization Studies

SN - 0170-8406

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ER -