Touch and contact during COVID-19:Insights from queer digital spaces

The aim of this conceptual paper is to discuss the transformation of socialisation processes due to the digitalisation of entertainment and community formation during COVID-19. More specifically, we focus on alternative modes of touch and contact within the context of queer digital entertainment spaces and question how the world is shaped and sensed in a (post-) COVID-19 era. Inspired by the work of Karen Barad on a quantum theory of queer intimacies, we highlight that the rise of hybridised experiences in-between physical and digital spaces captures a series of spatio-temporal, material and symbolic dimensions of touch and contact. We conclude by drawing implications for the future of organisations and work

European Group for Organizational Studies (EGOS)

The focus of this paper is on the phenomenon of collaborative creativity emerging from shared, embodied experiences in the context of dance. Our aim is to explore how collaborative creativity is shared and negotiated in productional spaces of dance. We define collaborative creativity as an aesthetic experience emerging collaboratively in embodied and often unexpected ways. We argue that collaborative creativity actualizes in productional spaces, here understood as the frames settled for the current artistic production and within which dancers are able or unable to fulfill themselves as &rsquo;creative, embodied agents&rsquo;. To support our argument, we present observations from an ongoing study of dance in which sensuous, creatively embodied ways of moving are at the heart. Based on our research material from two separate dance productions, we identified three tensions through which collaborative creativity is negotiated. The findings have significance firstly for how we understand the ambiguous phenomenon of collaborative creativity from an embodied point of view. Secondly, we show how collaborative creativity is not only a result of a collective social process (Sawyer 2000), but rather a multi-dimensional phenomenon in which shared meanings of emotional, intuitive and improvisational movements take the stage in day-to-day life of professional dancers. </p

European Group for Organizational Studies (EGOS)

The focus of this paper is on the phenomenon of collaborative creativity emerging from shared, embodied experiences in the context of dance. Our aim is to explore how collaborative creativity is shared and negotiated in productional spaces of dance. We define collaborative creativity as an aesthetic experience emerging collaboratively in embodied and often unexpected ways. We argue that collaborative creativity actualizes in productional spaces, here understood as the frames settled for the current artistic production and within which dancers are able or unable to fulfill themselves as &rsquo;creative, embodied agents&rsquo;. To support our argument, we present observations from an ongoing study of dance in which sensuous, creatively embodied ways of moving are at the heart. Based on our research material from two separate dance productions, we identified three tensions through which collaborative creativity is negotiated. The findings have significance firstly for how we understand the ambiguous phenomenon of collaborative creativity from an embodied point of view. Secondly, we show how collaborative creativity is not only a result of a collective social process (Sawyer 2000), but rather a multi-dimensional phenomenon in which shared meanings of emotional, intuitive and improvisational movements take the stage in day-to-day life of professional dancers. </p

European Group for Organizational Studies (EGOS)

Providing understanding on the micro-level foundation of the activities of organizations is dependent on ethnographic approaches (see e.g. Desmond 2007; Kellogg 2009; Michel 2011; Nippert-Eng 1996; Wulff 2001). While these approaches contain several variations of one general theme, there is still room for a form of ethnographic research that we have named involved ethnography. In this approach, the researcher is more involved with the social community being studied than a typical ethnographer, but less involved of that than an actual member of the same community. In addition, involved ethnography takes into account and builds on the process in which a researcher may during the fieldwork turn from an outsider into an active partaker in relation to the community being studied. We believe that this form of ethnography is an especially critical tool in the examination of the subtle variations in how organizational routines are being implemented. To support our argument, we present observations from an ongoing study on professional dance. In this context, variation in micro-level organizational routines materializes in the form of embodied agency as a substantial part of dancers&rsquo; work consists of shaping routines through the means of bodily and aesthetic expression. In its entirety, the study makes two main contributions. First, it operates as an example of how involved ethnography is conducted in practice and thus permits us to define the most distinctive characteristics of this approach. Second, it provides general insight into the kinds of conceptual phenomena that can be addressed with this particular form of ethnography. Normal 0 21 false false false FI X-NONE X-NONE <!--[endif] --

Mothers and researchers in the making: Negotiating ‘new’ motherhood within the ‘new’ academia

How do early-career academic mothers balance the demands of contemporary motherhood and academia? More generally, how do working mothers develop their embodied selves in today’s highly competitive working life? This article responds to a recent call to voice maternal experiences in the field of organization studies. Inspired by matricentric feminism and building on our intimate autoethnographic diary notes, we provide a fine-grained understanding of the changing demands that constitute the ongoing negotiation of ‘new’ motherhood within the ‘new’ academia. By highlighting the complexity of embodied experience, we show how motherhood is not an entirely negative experience in the workplace. Despite academia’s neoliberal tendencies, the social privilege of whiteness, heterosexuality and the middle class enables – at times – simultaneous satisfaction with both motherhood and an academic career.</p