Deadline+2009

Deadline 2009-12-01
I would like to encourage aacorn members to submit a paper to the special issue of the Action Research Journal that is focusing on The Arts in Action Research, which I am co-editing with several creative and committed colleagues. The call for papers is attached--may it inspire you! [|ARJ The Arts in AR CFP FINAL.pdf] Prof. Dr. Ariane Berthoin Antal Senior Fellow Research Unit "Cultural Sources of Newness" Wissenschaftszentrum Berlin für Sozialforschung (WZB) Reichpietschufer 50, D-10785 Berlin

Deadline for completed papers: 2009-09-01
Call for papers for a Special Issue of Visual Studies Visual Narratives of Organization Guest editors: Henrik Schrat, Samantha Warren, Heather Höpfl

The intention of this special issue is to provide an insight into the world of organizations and work. Drawing on an emerging methodology within organisational theory (Warren 2008) this special issue is concerned with visual narratives of work. The way visual material is used to describe and mediate organizations and the processes by which they are performed has become of increasing interest in Organization Studies. Organizations can be seen as cultural contexts, offering coherent/reproducible conditions to study how pictures both mobilize and reflect organizational action and how these may differ across the corporate and not-for-profit landscape. With roots in the study of organizational symbolism (Dandridge 1980) and developing through a concern with the aesthetic dimensions of organizational life (Strati 1999; Hopfl & Linstead 2000), the visual - as both subject matter and methodology - is a fertile ground for innovative organizational enquiry. On one hand this includes all the qualities which differentiate visual from verbal communication. On the other hand, attending to the visual in organizational life links with different uses of verbal communication, especially storytelling and narration, (Boje 2001). Here we are particularly interested in the aspects that can not only be told (or written), but those which are understood by the act of seeing. The issue will focus on the special ways narration is constructed through seeing, say, by artefacts or pictures. How do narrative elements in an organization such as character or plot develop from seeing, and what are the key differences to those elements as developed in text? What can change if the visual component of a narrative is privileged and is germane to its interpretation? Interpretation taken as the basis for action would push the question further: Which streams of meaning are running through an organization, connected with visuals, never surfacing into text or spoken word, but springing directly into action? For instance, how can unconscious processes be surfaced through images? (Sievers 2007). Springing from this, contributors are invited to consider:
 * Moving/ Movie: The person acts as a creator of a narrative by moving through an organisation, by walking from the entrance hall through the corridors to an office and the canteen, for example. It is the observer that moves through real objects, not the movie that simulates narration. How can these mobilizations be recognized and analysed within existing methodological frameworks? Are new ones needed?
 * Sense / Cyber - distinctions between an aesthetic reading of a real object and the disembodied images of the cyber age, which exist in non-material, non-dimensional spaces yet are increasingly vital for 21st century organizational survival via Internet and mobile technologies. How do these elements of organizational imagery become fused or remain distinct in various milieus?
 * The Seeing Body - the visual sense as a function of the body, a body which can be managed by external institutions and techniques.
 * Fixed/ Fluid - How different would individuals within one organization interpret the same picture? What would that say about the organization? The construction of subjectivity in a wider context could be relevant. The notion of visuality needs to be critically reviewed in this context as a concept which has its own history and conditions.
 * The visual as positioned between Gestalt and Semiotics; between Psychology or Linguistic reading. Principles of perception like proximity, similarity, continuance, and closure are seen as a key to understanding, or is the way to better plotted through metaphors and Semiotics?

We anticipate a high quality of submissions but will only be able to publish a limited number. Instructions and guidelines for contributors can be found here: http://www.tandf.co.uk/journals/authors/rvstauth.asp. Authors are responsible for securing the necessary copyright permissions for images included in submissions. References: Boje, David. (2001) Narrative Methods for Organisational & Communication Research. London: Sage Dandridge, T.; Mitroff, I. & W. Joyce (1980) 'Organizational symbolism: A topic to expand organizational analysis' Academy of Management Review, Vol 5 (1) pp. 77 - 82 Gagliardi, P. (1990) Symbols and Artefacts: Views of the corporate landscape, deGruyter: Berlin Höpfl, H. & S. Linstead (2000) The Aesthetics of Organizing, Routledge: London Sievers, B. (2007) 'Pictures from below the surface of the university: The social photo-matrix as a method for understanding organizations in depth' M. Reynolds & R. Vince (eds.) Experiential learning and management education, Oxford: Oxford University Press Strati, A. (1999) Organization and Aesthetics, Sage: London Warren, S. (2008) 'Empirical challenges in Organizational Aesthetics research: Towards a sensual methodology' Organization Studies, Vol 29 (4) pp. 559 - 580.

Deadline: July 1, 2009
Fifth Art of Management and Organization Conference Santralistanbul, Istanbul, Turkey, 31st August - 3rd September 2010 Proposals must be sent to Conference Manager Jane Malabar (artofman@essex.ac.uk) no later than July 1st, 2009. The Conference organizers will announce the streams and call for papers/submissions by 1st September 2009 Finally, further announcements will continue to appear on the conference web site which can be accessed by copying the following links into your web browser: []

Deadline: May 1, 2009
Dear friends of ARTPORT_making waves: We recently launched our new website [|www.artport-project.org] at Bridge Art Fair New York and would like to invite you to have glance at it! We are currently looking for video artists worldwide to participate at our ARTPORT_COOL STORIES artist call for short video and animation. Please spread the word. All the best from sunny Valencia, Anne-Marie Melster ARTPORT Director Spain ARTPORT_making waves Anne-Marie Melster M.A. c/ Na Jordana 2, 3º E-46003 Valencia T: +34-96-315 41 25 F: +34-96-315 69 36 M: +34-685-80 34 97 NEW: [|www.artport-project.org]

Deadline for abstract submission: 2009-04-30
CREATIVE ECONOMY AND BEYOND International Conference on the Creative Economy, September 9-10, 2009 Helsinki, Finland Organisers University of Art and Design Helsinki in co-operation with Turku School of Economics and University of Tampere

The CREATIVE ECONOMY AND BEYOND conference is a multidisciplinary meeting place for the academia, policy-makers as well as artists, creative entrepreneurs and businesses. The conference aims to look at current phenomena and identify future trends in order to understand emerging possibilities beyond the creative economy dynamics. We welcome insights from different disciplines and approaches to critically and analytically uncover what lies beyond the creative economy. What are the skills, research approaches, understanding and operating models that allow us to identify and engage with these prospects from individual, organizational, educational and political perspectives? On the other hand, what are the implications to the changes needed in cultivating the relationship of creativity and economy and a well-being and prosperous society. Special themes of the conference focus on the shift from tangible to intangible production, future boundary conditions of organizing, emerging business models, law and policy implications, roles of the citizen-consumers in the markets. Further themes explore how to lead creative individuals and processes, what can other sectors learn from the arts, media, culture and design and what does the shift towards a creative economy implicate for education planning, research practices and policy making.

Conference tracks are: Track 1: Creativity in Business and Leadership A shift from an industrial to a knowledge and experience society requires new forms of business and leadership. The creative industries are looked upon for answers in how to organize work in a new business environment. In this track, the central questions are, but are not limited to the following: - Leading creative individuals and processes: What is the role of art and design based methods and thinking for management and leadership? - How can art-based competencies and services be utilized by other sectors? - How to use creativity to lead more effectively? - Experienced bodily knowledge in leadership: How are emotions, rhythm, time, and space paid attention to in workplace interaction? - The relationship between creativity and innovation: Are they separate or how do they link together? Track chair: Professor Arja Ropo, University of Tampere

Track 2: Creative Regimes: Immaterial Business, Future Law, and the User of Tomorrow The creative economy allows for, may be even demands, several strategic shifts in the boundary conditions that define contemporary markets. Issues regarding concepts such as usability, privacy, ownership, immaterial production and the very nature of usage become heightened and recast in a market regime defined by creativity and creative products, leading to institutional, cultural and legal shifts in the way in which creativity is incorporated into bigger structures. This track will address questions of how creativity is ordered and organized, all of which have the potential to change the way business activity, the nature of production and consumption, and markets are defined in the future. We welcome contributions analyzing these shifts and beyond. Possible routes: - Limiting conditions and boundaries in creativity; beliefs, ideas, and rules of action. - Shifts in trade and business models: ownership, production and use of immaterial resources, goods and services - Flows of content creation, consumption and value - Service design and law - Analytical work from IPR legislation to IPR regimes - Collectives, commons and property rights: from creative commons and open source innovation to patent pools and IPR monopolies - Strategic uses and markets for IPR Sessions to build on contemporary cases from 2009 Track chair: Professor Saara Taalas, Turku School of Economics

Track 3: Designing our Future: Education, Research and Innovation Policy The shift towards a creative economy poses a demanding task for the development of educational systems and reserach policy making. Methods developed in the field of design have been recently proposed as a new way to reach solutions in a world of accelerated change. This theme concentrates on the following questions: - The role of design in accelerating multi-disciplinary education, research and innovation policy. Methods, contents and best-practices for raising the next generation. - Strategic Design: Perspectives to global, national and local problems or organizational challenges. - Design & Social impact: addressing complex, systemic and inherently human challenges and sustainable development. - The Innovative Borderlines between Design and ICT. Track chair: Professor Marjo Mäenpää, University of Art and Design Helsinki

We welcome imaginative and interesting ideas that may not fit within the above listed areas but that open up the conference themes from unexpected and fresh angles. In addition to traditional scientific presentations, You are also welcome to propose a practical presentation or creative workshop. If you are interested in presenting a paper at the workshops, please submit an abstract (max. 1000 words) along with a suggestion for the suitable workshop to the conference coordinator Outi Liedes, on 29th of March 2009 at the latest. Please place the title, author names, affiliations and contact information at the top of the title page. Abstracts should provide sufficient information about the aims, methods, discipline or theory in question and the results of the research. As well as traditional scientific presentations, innovative ways of making presentations are welcome. The presented papers will be published afterwards in the conference proceedings. The conference language is English. The time for paper presentations is limited to 20 minutes, followed by 10 minutes of discussion. Notification of Acceptance: 23.5.2009 Deadline for Full Papers: 31.7.2009 Registration opens: 14.4.2009 For further information, please visit the conference website at [|www.ceb.fi]

Deadline 30 April 2009
Call for paers for a forthcoming themed issued of Asthesis. [|Aesthesis - Rhythm call.pdf] Best wishes The Editorial Team

Deadline 2009-03-31
Don't miss the opportunity to gain the international recognition and 12.000 Swiss Francs that comes with the Imagination Lab Award. We are especially interested in encouraging doctoral students' work so please spread the word to PhD students you feel should be encouraged. The application ([|www.euram2009.org/r/iLab-Award)] is real easy and will only take some 10 min to complete.

Deadline 2009-03-30
We would like to invite you to submit your research ideas for a special session on "Organizational Knowledge Thru the Arts" at the 2009 IberoAmerican Academy of Management Meeting, which will be held on December 9-11, in Buenos Aires, Argentina, hosted by IAE Business School. __Organizational Knowledge Thru the Arts__ Art as a key to human emotions is a vital means for learning about organizations. Aesthetics is the study of art. It seeks sensory and emotional knowledge of objects and experiences. Aesthetic study of organizations can open up the poorly understood sensory, emotional and passionate aspects of organizing. No great human feat has ever been accomplished without passion. We need to explore how organizations can harness passion and how passionate people can use organizations as vehicles for their causes. This panel/session will explore organizational aesthetics from different artistic perspectives, including painting, music and dance (Argentine Tango). You can e-mail your extended summaries (max. 1800 words, including references) to one of the session-chairs until March 30, 2009. Session Chairs: Carmelo Cennamo, IE Business School, SPAIN. Burak Koyuncu, IE Business School, SPAIN. Paul Shrivastava, Bucknell University, USA.

THEME: Creative Practice + Creative Conversations + Creative Commercialization = INNOVATION
The CSTC Internationale 2009 seeks presentations for the following eventstreams: Creative Practice - Beyond Ideation Action learning and immersive workshops that involve all forms of creative practice and thinking in whatever field - the only limitation is the presentation must provide or add a new dimension to existing practice in the field. Creative Conversations - The Future of Creativity Presentations, papers and case studies that offer practical demonstrations of the application of creativity within any context - the only limitation is the presentation must provide or add a new dimension to existing theories in the field. Eg how will social media, web 2.0 and the digital world effect creativity and creative skills training. Creative Commercialization - The Value of Creativity - How can we be creative in resourcing, capitalising, implementing, measuring, valuing creativity. Presentations Outlines Presentations should be 90 minutes in length. Preference will be given to those proposals that offer interaction and experiential learning. International One Day Masterclasses. We also seek expressions of interest in running full day International Masterclasses as extension programmes on Saturday May 30 and Sunday May 30. All workshop proposal deadlines are March 1, 2009. Go to http://www.cstcinternationale.com to enter your presentation submission under Call for Presentations. Go to Facebook http://tinyurl.com/9o7y8v to join the CSTC Internationale community. Ralph Kerle Executive Programme Committee CSTC Internationale 2009 [|www.cstcinternationale.com]

Deadline: 2009-01-31
The second half of the 18th century was marked by dramatic change in geographic, political and philosophical understandings. Neoclassicism in art and architecture arose partly as a reaction against the sensuous ostentatious Baroque and frivolously decorative Rococo style that had dominated European art in the early Eighteenth Century. But an even more profound stimulus was the new and more scientific interest in classical antiquity that arose in the 18th century in response to the political and social changes in Europe and the Americas. Working within the context of an art historical canon rooted in the ancients did not mean that the neo-classical artist replicated its forms in lifeless art works; they synthesized the tradition anew in each work. Rather than seeking to re-create art forms from the ground up with each new project, neoclassicism instead exhibited a perfect mastery of an idiom and style by both exploiting and at the same time subverting its potential. Postmodernism and neoclassicism are both based on a similar idea of using elements of other styles to form one’s own style. In neoclassicism there is perceived to be less emphasis on creating new styles, and more on re-creation and exploration of the styles from which one draws. When working in an older style, a neoclassicist may seek to create a convincing example of that style, transforming it immanently, whereas another postmodernist might merely use elements of older styles in order to create something new. The neo-classical re-turn attempts to return to (classical), and advance (neo) the assumptions and terms of the classical forms of the discourse. It challenges, confronts, reconfigures and ultimately subverts them in order to develop what could be called a ‘re-evolutionary’ approach. One artist that stands at the fulcrum of these events was the musician and composer Franz Joseph Haydn (1732–1809) and notwithstanding his isolation from world events in the Court of Esterhazy, Haydn participated in the transformation of music both in its aesthetics and practice. Aesthetically Haydn was a major influence in the development of classical European musical style. Through his work with orchestral musicians his influence informed the ways in which performing arts organisations have developed and how leadership is conceived within this context. Furthermore, Haydn successfully crossed the gulf from the artist as servant of the aristocracy to a self-employed entrepreneur. For this themed issue we invite submissions that explore the nature of creativity in organisational life, and especially ones that resonate with late 18th century social, political and artistic developments. Further, as an acknowledgement of the bi-centenary of Haydn’s death on May 31, 1809 we also invite submissions that explore and connect art making during the life and times of Joseph Haydn with today. Specifically we welcome submissions that focus on the following ideas: We welcome submissions that are based either in empirical research or philosophical inquiry or conceptually oriented, but we ask that in some way they link back to Enlightenment thought and its contestations. This thematic issue gathers authors, who contribute constructively to the contemporary epistemic odyssey of organization and management science, as a passage between Scylla – the rocks of dogmatic modernity – and Caribdis – the whirlpool of dispersed post-modernity. Abstracts to R. Bathurst and W. Kupers by 31st January 2009. Publication due Autumn 2009.
 * Aesthesis**** themed issue, 2009**
 * Neo-classicism and its impact on creativity and innovation in management and organisations**
 * The insights of neoclassical style for creativity and leadership
 * Integral and ‘re-evolutionary’ developments in organisational form and structure
 * Precedents, antecedents and contemporary expressions in managing arts organizations
 * Artists as entrepreneurs then and now
 * Investigations into the role of the arts in defining individual and cultural identity by looking back and looking forward
 * Investigations into the role of the arts in defining cultural identity by looking back and looking forward
 * Exploring the critical and subversive potential of neoclassicism with regards to innovation and other organisational and managerial phenomena.

**Deadline 2009-01-30**  Embassy Suites International Drive South/Convention Center [|PRINT CALL FOR PAPERS PDF] PLEASE SUGGEST OTHER Sub themes relevant to ACORN  info on line at http://scmoi.org
 * THEME: Organizing Space and Time**  Our 20th sc'MOI will be held Apr 2-4 2009
 * scMOI conference registration to Faculty: $275 if payment is received prior to Feb. 1, 2009; $300 after Feb 1 2009.
 * Students: $100 if payment is received prior to Feb. 1, 2009; $115 after Feb. 1 2009
 * Early Registration deadline: Feb. 1
 * Deadline for finished paper: March 1
 * 2009 CD Proceedings with ISSN & TAMARA JOURNAL is provided with full registration fee

A reminder that the deadline is approaching for submission to the EGOS Conference on the passion for creativity and innovation: http://www.egosnet.org/conferences/collo25/colloquium_2009.shtml Pierre Guillet de Monthoux, Steve Linstead and I are co-organizing a stream on 'The Art of Practice in the 21st century organization' and we would very much welcome your contributions or those of PhD students. http://www.egosnet.org/conferences/collo25/sub_37.shtml We welcome non standard submissions for exhibitions or performances so don't be too intimidated by the EGOS word limit. Looking forward to receiving your ideas. Pierre-Guillet, Steve and Garance