This paper deals with understanding, firstly, how economic space-time works as
a structuring paradigm based on the suppression of feminine time with the
inevitable knock-on effects on social or domestic (procreative) life. Because
economic space, as Lefebvre believes, is seductive, it “unleashes desire” by
claiming all time for itself; time must now be reproduced in such a way that it can
open outwards to social dimensions rather than closing them off.

The ideas in this paper were initially explored at the Organisational Theatre summit, co- ordinated by learning Lab., Denmark at Lisegaarden near Copenhagen in March 2005. Working in collaboration with a group of actors and theatre practitioners; approaches to the phenomenon of rehearsal were discussed and a short play was devised and performed to communicate our findings to the rest of the conference. This paper arose from further reflection on those discussions and includes a transcript of the short play devised: The paper offers some reflections on the phenomenon of 'rehearsing' as practiced in theatre. It also represents our view on the usefulness of rehearsal as a model for the development of new products especially services and the possible value of this concept in the context of organizations, especially the management of professional service firms.

Digital technology and software networks enable large numbers of knowledge workers to incorporate themselves wherever and whenever they wish and to choose between a sedentary or nomadic lifestyle. One way of configuring these new circumstances is as the extensive power of people, products and markets to speedily overcome obstacles and span distances. However, we increasingly see nonrepresentative corporations accelerating human pace and swallowing open spaces within the rational administrative control of a new supranational “Empire”. Intensive movement, on the other hand, reconfigures the human condition in ways that politically and ethically engage with universalizing global processes. Like the traditional nomads of the steppe or the desert, for example, the movement in question is a complex, dynamic relation characterized by its immediacy and continuous variation of alliance and resistance, that remains difficult to locate, difficult to control, and even more difficult to defeat. The paper argues that nomadism can be a starting point for an opposing strategy to the global knowledge economy.

This paper is about estrangement, about exile: about waiting to be called into existence. Waiting. In transit. Homesick. Lost. The paper offers an attempt to examine the position of women as foreigners, as strangers in a male world. Despite the criticisms of Kristeva's work for its lack of attention to class, gender and race, her ideas have currency for the examination of these areas. Other criticisms have mentioned the extent to which she deals with her own subjectivity in her writing. However, this seems to be a very unreasonable criticism. It is precisely Kristeva's own experiences which makes her supremely capable of this particular analysis and, for me, it works to open up not only a gendered space but also a class wound.

This paper is about estrangement, about exile: about waiting to be called into existence. Waiting. In transit. Homesick. Lost. The paper offers an attempt to examine the position of women as foreigners, as strangers in a male world. Despite the criticisms of Kristeva's work for its lack of attention to class, gender and race, her ideas have currency for the examination of these areas. Other criticisms have mentioned the extent to which she deals with her own subjectivity in her writing. However, this seems to be a very unreasonable criticism. It is precisely Kristeva's own experiences which makes her supremely capable of this particular analysis and, for me, it works to open up not only a gendered space but also a class wound.

We propose in this article to take a story approach to organizational analysis. This implies that organizational life is perceived as polyphonic, equivocal, dialogical, unfinished and unresolved. We describe this approach as antenarrative inquiry in that it seeks to question established truths and moralities embedded in the narratives of the present. Antenarrative inquiry thus suspends beginnings, middles and ends in narratives and gives room for other voices. We propose Foucault’s power analysis, genealogy, as a method for antenarrative inquiry. We demonstrate the ideas of genealogy by relating it to Ricoeur’s work on narrative and time where experience is portrayed as a mimetic circle where endpoints lead back to pre-narration. We argue instead that organizational life is result of complex chains of interactions, negotiations and struggles. Genealogical scrutiny thus shakes up the mimetic circle and opens up for new interpretations of organizational life by revealing the power relations embedded in the conditions in which this life is storied and re-storied.

This paper explores how writing poetry came to make a significant contribution to an exploration of writing as a form of inquiry which questioned whether the process of writing can uncover and successfully express tacit, felt sense of knowing – aesthetics in the sensory embodied sense. An initial aleatory exploration with words led to the discovery of the potential of poetic language to express the inexpressible creating a poetic moment, where object merges with significance, the former opening up the latter. The writing also suggests that writing as a form of inquiry opens up opportunities for a more ethical writing through which there is increased capacity for researchers to ‘enter into the experiences of others’ with greater sensitivity and awareness. The documentation of the stages of the dynamic process of writing demonstrates how writing as a form of inquiry moves through a series of written representations suggesting that there is no difference between writing and field work as the fieldwork and writing blur into one, increasing the problem of representation.

The interest in societal forms of entrepreneurship has increased in recent decades, emphasizing different kinds of prefixed such as ―social‖ ―ecological‖, ―sustainable‖, ―regional‖. In this article societal and social is at stake. Taking a point of departure in the prefix stories of entrepreneurship we read a wish to break with the grand narrative of entrepreneurship as well as attempts to feed into and draw legitimacy from the grand narrative. In this article we take a point of departure in an initiative taken in Sweden to introduce and finance a program labeled ―Societal entrepreneurship‖. The purpose is to create knowledge about, as well as conditions for, initiatives aiming at improving what is missing or does not work in public structures, and finding new and innovative solutions in order to create an economically, socially and ecologically sustainable society. Applying Burke‘s pentad it is illustrated that the grand narrative of entrepreneurship consists of the heroic entrepreneur (agent) who creates a kingdom (act) by way of establishing a company (agency) on the market in order to make a profit and contribute to growth (purpose). Applying the concept of Tamara, introduced by Boje, it is further illustrated how the grand narrative of entrepreneurship emphasizes capitalism, rationality and hierarchy in line with the epoch of industrialization, whilst the antenarrative of societal entrepreneurship gives priority to both premodern and postmodern discourses. The importance of community, of non-economic values, artisan craftsmanship is stressed, but also of how societal structures must be changed. The story of societal entrepreneurship thus de-centers human agency seeking to create instability as well as openings for enactment.

This paper explores the aesthetics of ethics through an examination of Aotearoa/New Zealand’s Treaty of Waitangi. Through the metaphor of the carver, we demonstrate that instrumentality, ethics and aesthetics work together in a fluid state of play that provides the means to achieve the partnership relationships inherent in the Treaty. We claim that the theory of tensegrity allows for contestations surrounding meanings of the Treaty’s intent and opens a space for growth and development. This is illustrated by the March 2010 signing of a memorandum of understanding between Bay of Plenty iwi and Tasman Pulp and Paper which affords both parties with a means to work productively together for their mutual benefit. This contemporary illustration is compared with the construction and carvings of the Te Tiriti O Waitangi Whare Rūnanga which demonstrate in a tangible way how aesthetics and ethics work together to build community solidarity among people of diverse backgrounds.

This paper discusses the impact of the Internet as communication technology and work environment on changing professional relations and work practices. In particular the paper contributes to a better understanding of collaboration processes enabled by the web and hereby draw a field for further research on trust within Open Source Software (OSS) communities. Having two contradictory interpretations of the technical structure of the project development we indicate its ambiguity to make a point about the meaning of trust and distrust in crating the space for cooperation. Neither trust is necessary nor distrust destructive thanks to the boundary object – the source code repository – that serves as a sole meeting point between OSS community and the company.

The following study will explore the stories which are not told – that is, it will scrutinize the process of intertextual emergence of an ultimately open story: one which has neither discernible authorship nor agenda and which remains in-the-making rather than strives to achieve closure. The paper will discuss the process in which multifaceted and multidirectional organizational stories are created, in which plots and characters exchange and ‘ending’ is defied. This lack of closure is perceived here as a breeding ground for networked meanings, which, if allowed to remain interdependent and plural, eschew the danger of a new organizational story becoming universal carrier of inflexibly established contents. Since the unifying semantic organizational frameworks (e.g. ‘success story’) may be construed as impostors attempting to ascribe both authorship and agency to a nonagentical and non-authored ‘untold story’, this study proposes one way in which multidirectedness and plurality of the story may be preserved.

In this interconnection of embodied being and environing world, what happens in the interface is what’s important. At least that is the way a phenomenological perspective takes shape. Ihde, 2002, p. 8

We are embodied beings. Our flesh, our manner of being in the world as an intertwining of perceiver and perceived is a notion that makes it possible for us to articulate the human body with respect to its ontological dimensionality and the claim it has within the lived world. This claiming is our being-in-the-world and it is situated in the understanding of the Self. This fleshly schema called the body is a “opening and clearing, in the multidimensional field of Being, for it articulates the embodiment-character of our responsiveness and elicits its potential for development on the basis of our initial, most primordial sense of Being-in-the-world.” (Lakoff & Johnson, 1999, p. 62). As such, our everyday life takes place within this opening and clearing of personal space and personal movement. In this Being in the World, through history, humans have told oral then written stories to solidify culture and share knowledge for the future. Our Being-in-the-world comes through story. A different part of Being also intertwines with technology. When story and technology meet, digital stories are born. This theoretical reflection aims to connect the philosophy of technology and new media theory to clarify the role of digital processes in the storytelling, and explore the notion of techne. A variety of perspectives work to shed light on the phenomenological notion called Beingin-the-world-with-technology. Latour (2005) Giltrow (2002) Ihde (2002) and Orlikowski (2001) contribute to unpacking the interaction and relationship between humans and technology to identify the materials artifacts, characteristics of human agents, and context. This reflection aims to flesh out new media perspectives about digital storytelling through the phenomenological work of Gadamer, Heidegger, Ihde, Leder, Merleau Ponty, with concepts of mediation, mediatization, embodiment, motility, praxis, context, and aesthetic stance toward techne.