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Article: Linstead, Stephen Andrew orcid.org/0000-0002-1006-2921 (2018) Feeling the Reel of the Real : Framing the Play of Critically Affective Organizational Research between Art and the Everyday. Organization Studies. pp. 319-344. ISSN 1741-3044 https://doi.org/10.1177/0170840617717552

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

Journal: Organization Studies

Manuscript ID OS-15-0846.R2

Manuscript Type: Special Issue: Organizational Creativity, Play and Entrepreneurship

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

This paper considers a number of issues hampering the application of arts- based —playful“ methods in organization studies once the close relationships between ethnography and aesthetic research, and the connections 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 performative nature of artistic cultural texts lies in their intention to move their audience towards new sensitivities, awareness, and even learning. Critique is not oppositional to such development, being essential for fully creative movement. The paper therefore suggests that what is needed are critically affective performative texts. For such texts to be socially, politically and Abstract: epistemologically defensible, and thus a viable form for researchers to consider adopting, it is necessary to understand how they work to generate critical momentum, and what possible lines are available for justifying and evaluating creative approaches that challenge orthodox organizational research in being neither objective, representational nor expressive. The paper outlines four —moments“ of critical leverage œ aesthetic, poetic, ethical and political - that work in play with each other to create powerful artistic texts, and illustrates them by drawing on work-related literature, music, poetry and art, including workplace ethnographies. This framework enables the location or artistic and —playful“ methods epistemologically and ontologically relative to other modes of research and offers a robust justification for their further use in the field of organization studies.

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1 2 3 Feeling the Reel of the Real: Framing the Play of Critically Affective Organizational 4 5 Research Between Art and the Everyday 6 7 8 9 10 11 I have flown to star-stained heights 12 13 On bent and battered wings 14 15 In search of mythical kings, mythical kings, 16 17 Thinking everything of worth 18 19 For Peer Review 20 Was in the sky and not the earth 21 22 And I never learned to make my way 23 24 Down, down, down 25 26 Where the iguanas play. 27 28 (Dory Previn, Mythical Kings and Iguanas, 1971) 29 30 31 32 33 While organizational aesthetics can be seen to be established and healthy in real 34 35 organizations (Taylor & Hansen 2005, p. 1227), and recognition of the advantages of using 36 37 artistic form to explore everyday organizational issues continues to grow within the field of 38 39 40 organization studies, the irony remains that there are few examples of the actual employment 41 42 of artistic forms in the presentation and analysis of ”aesthetic‘ organizational research. The 43 44 separation between the abstracted intellect of Previn‘s mythical kings and the earthy 45 46 playfulness of iguanas remains stubbornly persistent, although this is the very space in which 47 48 organization emerges into being. Intuition and affect as everyday sources of creativity, when 49 50 51 reported, are presented in accounts that typically suppress their own intuition and affect, and 52 53 indeed, may well be suspicious of expressing them. As Taylor and Hansen put it: 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 3 of 53 Organization Studies

1 2 3 the use of artistic forms to look at aesthetic issues offers a medium that can capture 4 5 and communicate the felt experience, the affect, and something of the tacit knowledge 6 7 8 of the day-to-day, moment-to-moment reality of organizations… [n]ot just the 9 10 cleaned- up, instrumental concerns of —the business“, but the messy, unordered side as 11 12 well (Taylor & Hansen 2005, p. 1224) 13 14 15 16 Yet despite this promise there is only a ”small amount of work that uses artistic form to look 17 18 19 at aesthetic issues‘For and intellectually Peer enframes, Review analyses and reflects upon what emerges 20 21 (Taylor & Hansen 2005, p. 1227 emphasis added). 22 23 24 25 This paper addresses the important deeper issue of why artistic methods are so 26 27 28 infrequently used and what can be done about it. It does not attempt to correct the lack by 29 30 exemplifying an alternative approach and deploying an artistic form, because in order to 31 32 prepare the ground for such varied efforts there is a need for more unifying conceptual work 33 34 to be done. It is this ground-clearing and tool-cleaning task the paper undertakes. It does this 35 36 by enframing, analysing and reflecting on the creative outputs of others œ sometimes from 37 38 39 within organization studies, but, because of the endemic and hermetic nature of the problem, 40 41 frequently from without. Whilst it employs radical ideas, it does not advocate a radical 42 43 replacement of established (—classical“ or —traditional“) methods by aesthetic methods - we 44 45 need both, and whilst they may positively complement each other they may also generate 46 47 48 fruitful conflict and constructive critique if they are made reflexively available for processual 49 50 rethinking. As Crapanzano (2010, p. 4) argues 51 52 53 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 4 of 53

1 2 3 I am not opposed to scientific approaches to society, culture, and the psyche, provided 4 5 that (1) they meet appropriate epistemological and methodological standards and (2) 6 7 8 they acknowledge, as best they can, their moral and political implications. 9 10 11 12 Of course, it is also necessary for aesthetic approaches to meet these twin standards 13 14 and this paper attempts to identify what landmarks of —appropriate“ criteria might be 15 16 identified for these types of non-linear, non-representational, often multimodal —text“. The 17 18 19 paper‘s critical methodFor is therefore Peer inductive, Reviewin deriving its criteria from existing creative 20 21 work as well as critical commentary; but it is also abductive in that it draws and translates 22 23 from a wider sphere of artistic creation than organization studies. It takes a middle range or 24 25 —bridge“ position in identifying some basic criteria œ the four moments (aesthetic, poetic, 26 27 28 ethical and political) - that can be applied in the soft evaluation of what it terms —critically 29 30 affective performative texts“. The objective here is not to displace established methods, nor 31 32 solely to challenge them: neither is it merely to enhance them in any superficial manner, 33 34 acknowledging art only as the pursuit of beauty (see for example Björkman, 2007). Rather it 35 36 is to enable the full range of what artistic approaches can offer to come into play for 37 38 39 organizational researchers, whether critical, creative or complementary, disturbing or 40 41 affirming, in their encounters with the everyday ”mysteries‘ of organizing. 42 43 44 45 The practical problem that confronts organizational researchers wishing to adopt arts- 46 47 48 based methods and modes is that there appears to be no accepted and robust means of 49 50 evaluating them. This renders them intellectually degradable or dismissible as ”subjective‘, or 51 52 politically indefensible as ”biased‘, and hence institutionally useless as an external indicator 53 54 of ”quality‘ œ none of which is good news for building a career in ”factories of knowledge‘ 55 56 (Goodall 2008; Raunig, 2013). This paper‘s objective then is how to identify elements of 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 5 of 53 Organization Studies

1 2 3 performance texts that can be located and used to legitimate, and where necessary evaluate, 4 5 playful and experimental critical practice within the management and organization studies 6 7 8 academy. What grounds could there be for qualitative differentiation between texts with a 9 10 strong personal and subjective element, that depend considerably on how they are read and 11 12 interpreted by their audiences for their credibility, yet seek to impose no authorial authority 13 14 over those audiences? How could such texts be defended as a contribution to processes of 15 16 inquiry, learning and change without quantizing impact via prescription? 17 18 19 For Peer Review 20 21 In undertaking this task, it is, we argue, possible to avoid succumbing to the 22 23 mysticism of ”artistic expertism‘ as engaged by Finley (2011, p 440) in citing Blumenfeld- 24 25 Jones (2008, p. 184): 26 27 28 29 30 The art needs to be practised…insights discovered through the practice of… an art 31 32 form are only available through the practice, and the practice focuses on making art, 33 34 not on coming to understand. 35 36

37 38 39 Brearley and Darso (2008), in an influential contribution in relation to business and 40 41 management studies that addresses a variety of cases, reflect this problem by either ignoring 42 43 it, or sidestepping it by working alongside arts practitioners, who cheerfully shoulder their 44 45 burden. This is a step that Finley also advocates and is increasingly common in 46 47 48 organizational interventions (see also Darso 2004, Ch 4). But this pragmatic strategy 49 50 interposes another layer of translation and distance between researcher and field, and whilst 51 52 adding expressive and interpretive possibilities disrupts any immediacy between the 53 54 researcher‘s intellect and the contagious affect of the field. As literary critic Christopher 55 56 Hicks (Toda, 2010) puts it, whilst research and scholarship are ”professional‘ they ”must not 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 6 of 53

1 2 3 become simply professionalised‘, and ”must keep in touch with amateur virtues without 4 5 yielding to the amateurish‘. Augmentation of their skills by those of professional artists must 6 7 8 not interpose between the researcher and the field. So this paper seeks to preserve the 9 10 continuity between everyday/researcher practice and expert aesthetic practice that 11 12 ethnography (especially autoethnography) exposes, by developing a lens through which both 13 14 become intelligible to each other, and may be related in practice. 15 16 17 18 19 MethodologicallyFor the paperPeer draws on critical Review and analytic work, as well as fieldwork, 20 21 that has been developed by the author over four decades (see Linstead 2000, 2006, 2007 a, b, 22 23 2010 a, b; Linstead & Höpfl 2000, Linstead & Brewis 2007, Kane, Linstead & McMurray 24 25 2007; Linstead & Thanem 2007; Maréchal & Linstead 2010; Linstead & Maréchal 2016), 26 27 28 with doctoral students in the UK, Australia, Sweden, and the USA, but most intensively with 29 30 doctoral students from the University for Humanistics, Utrecht, between 2003 and 2014 31 32 (Bruining, 2006; Kuyper, 2007; Letiche & Lightfoot 2014). It is informed by a movement 33 34 that Crapanzano (2010) terms literary-philosophical anthropology, that informs field practice 35 36 37 by drawing upon developments in the understanding of the social mind and combining them 38 39 with poetic and fictional explorations of the same and similar issues œ to expand the 40 41 —imaginative horizons“ of the field. Just as sociology since Schutz has recognised the 42 43 interconnectedness of common sense and professionalised scientific thinking, more recently 44 45 Jacques Rancière (2004) has argued for a common sensibility in a similar relation to 46 47 48 professionalised aesthetic production and art criticism. Art, in this sense, is in the field as 49 50 much as in the studio and the challenge for aesthetic research is to recognise the 51 52 ”hierophanic spaces‘ of insight in the field (Poulos, 2009), and to translate and illuminate 53 54 them with the skills of aesthetic practice and the tools of aesthetic theory. To develop this 55 56 57 the paper presents an open and dynamic framework that identifies four moments of 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 7 of 53 Organization Studies

1 2 3 experience that act as levers for critical creative research practice: the aesthetic, poetic, 4 5 ethical and political moments. It offers examples from arts-based intervention research 6 7 8 including story, abstract art, music and poetry and suggests how this framework has been 9 10 used, and can be further used, to legitimate arts-based organizational research as a rigorous, 11 12 experimental and deeply ”playful‘ practice. 13 14 15 16 17 18 Everyday Performance Texts 19 For Peer Review 20 21 A ”playful‘ reality can be regarded not as passively reflected by representational 22 23 processes, nor autonomously constructed through them, but relationally refracted in them 24 25 26 (Mullarkey, 2009). Expressive processes similarly can be regarded as having no 27 28 independently identifiable ”essence‘ that they express. Both sets of processes, fundamental to 29 30 our understanding of art, are therefore performative, in that they have a creative effect on the 31 32 ”reality‘ or ”experience‘ they purport to transmit œ they bring a particular form of reality into 33 34 being. But when this is recognised we are professionally no longer in possession of any easily 35 36 37 deployed tools to finalise meaning and evaluate outputs: thinking of representation or 38 39 expression in terms of accuracy or inaccuracy becomes problematic. Rather we are forced to 40 41 adopt the more evocative perspective of what Thrift labels nonrepresentational theory 42 43 (Linstead, 1984; Thrift, 2008). Here the world as the context of action is increasingly 44 45 46 recognised as being in play, neither being nor becoming in any specific directional way, and 47 48 the practice of research attempts to respond to this relative fluidity. Research evaluation as a 49 50 consequence struggles to cope with the more creative forms of research output that emerge. 51 52 This is especially true of critical contributions that cannot point to their effect on improving 53 54 some environmental capacity such as ”creativity‘, ”innovation‘ or even ”happiness‘ in the 55 56 57 economy, or specific skills and capacity-building in the community œ they often tend to open 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 8 of 53

1 2 3 up ambiguities, complexify questions, magnify mystery, and place demands on their reader to 4 5 think and feel both differently and for themselves. But nevertheless within this seriously 6 7 8 ”playful‘ inquiry there are some considerations that can and should be addressed in producing 9 10 a critically reflective and creative research practice that is oriented toward action and 11 12 implementation, that can embrace receptive negativity without rejecting positive possibility, 13 14 and can respond to the inherent mundane creativity of everyday life. 15 16

17 18 19 This mundaneFor creativity Peer responds most Review emphatically to ethnographic methods, and 20 21 Taylor and Hansen (2005) accordingly note the congruency between much ethnographic 22 23 research and aesthetic approaches to organization. This observation resonates with the 24 25 emergence of ”performance ethnography‘ since the 1970s in the work of sociolinguist Dell 26 27 28 Hymes (1975) and anthropologist Victor Turner (1982), and most recently developed inter 29 30 alia by Bryant Alexander (2005) Norman Denzin (2003), Judith Hamera (2011), Ronald 31 32 Pelias (2008) and Tami Spry (2011 a, b). Cultural ethnographer Dwight Conquergood (2013) 33 34 has developed the most sophisticated conceptualization, empirics and realization of 35 36 performance ethnography in arguing that culture itself is performance, rather than being a 37 38 39 product that can be acted out or expressed, and that ethnography constitutes a type of co- 40 41 performance that is always in motion. Kathleen Stewart (2006, p.1027), who is one of the 42 43 leading contemporary anthropologists of affect, considers this co-performance to rest upon a 44 45 sensitivity to the ”jump or surge of affect‘ as distinct from the ”plane of finished 46 47 48 representations‘ that much ethnographic research presents. Aesthetic practices are thus 49 50 different from the textual practices of ethnographers in that they step away from the text, and 51 52 recognise that culture is more than a text waiting to be ”read‘, even if over someone‘s 53 54 shoulder (Geertz, 1988). Stewart (2006, p.1027) calls this aesthetic/ethnographic effort 55 56 cultural poeisis. It consists in an attempt to track a moving object (everyday life) ”to 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 9 of 53 Organization Studies

1 2 3 somehow record the state of emergence that animates things cultural‘ and ”to track some of 4 5 the effects of this state of things œ the proliferation of everyday practices that arise in the 6 7 8 effort to know what is happening …. uncaptured by claimed meanings‘. This resonates with 9 10 Conquergood‘s rejection of the idea of culture as text in favour of culture as performance œ 11 12 the ethnographer doesn‘t read culture, observe it or participate in it, but is caught up in its 13 14 dynamic interplay of action and tries to engage with it, to make sense of it, or find a way of 15 16 living with the fact that although it can be clearly sensed we often can‘t make clear sense of 17 18 19 it. In the process ofFor research, bothPeer ethnographer Review and members willingly suspend belief to act 20 21 in the gaze of others ”as if“ the research situation were entirely natural1, but both tacitly 22 23 acknowledge that it isn‘t fully natural. Performance then in these circumstances is in 24 25 (unnatural) motion, and ethnographic outputs, including ethnographic texts, themselves 26 27 28 perform in dynamically engaging, arresting and directing the attentions of their audiences to 29 30 context and identity. For Conquergood, performative texts, in contrast to the more common 31 32 notion of performativity as a managerialist obsession with performance indicators and 33 34 functionality, are critically disruptive in constituting —action that incessantly insinuates, 35 36 interrupts, interrogates, antagonizes and decenters powerful master discourses“ from their 37 38 39 naturalised contexts (Bhabha, 1994, p.46-49). Performance is inseparable from power. 40 41 42 43 The idea of the performative text that is mobilized in this paper modifies 44 45 Conquergood in two ways. The first centres on the idea of ”text‘, the second on the idea of 46 47 48 the ”critical‘. Conquergood rejects the obsession of poststructural anthropology with text, 49 50 recognising that subaltern groups often manipulate the ethnographer by providing them with 51 52 textual distractions whilst themselves operationalising resistance non-textually. This is an 53 54 important point to which we must remain sensitive, but the poststructuralist concept of ”text‘ 55 56 need not be narrowly verbal, nor even strictly symbolic, just as Derrida‘s (1967/1978a) 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 10 of 53

1 2 3 account of ”writing‘ is more about operations of ordering and organising than inscription. 4 5 With a dynamic understanding of text as a multi-dimensional, open and polysemous 6 7 8 symbolic weave that is always in ”play‘, it is possible to sustain Conquergood‘s focus on 9 10 performance whilst working within textual materials, but also utilising materials that open 11 12 out towards broader cultural experience (King & Vickery, 2013). Such a performance text, 13 14 rather than seeking to represent the experience of the other, or express the feeling of 15 16 encounter with the other, seeks to involve and enmesh the reader by evoking affective 17 18 19 elements of those experiencesFor andPeer encounters, Reviewimmersing them in the openness of the text, 20 21 extending Barthes‘ idea of its —writerly“ nature or scriptibility (Barthes, 1974). Barthes‘ 22 23 scriptible text requires the reader to rethink it; our performative text builds out from this to 24 25 move the reader to feeling, or action, as well as thought, rather than reception. As Höpfl & 26 27 28 Linstead (1993, p.76) suggest the skill of text creation is attested by the extent to which 29 30 the text itself performs œ how it stimulates empathetic emotions by which its audience 31 32 is moved or transported. 33 34 35 Second, we take the idea of criticality in Conquergood, following Bhabha (1994), to 36 37 be distinguished by its disruptiveness to mainstream discourse. But we also see performance 38 39 40 texts as experimental and exploratory systems (Fischer, 2007), rather than being defined by 41 42 their representation or expression of opposition; opening up discourse to disquiet rather than 43 44 dissent. Rather than being a form of inquiry that contains expressive and presentational ways 45 46 of knowing, and combines them with intellectual framing, propositional and pragmatic ways 47 48 49 of knowing (Taylor & Hansen, 2005, p. 1222), such texts blur and perforate the boundaries 50 51 between these forms. In regard to management, they set up both the critical project and the 52 53 managerialist project within each other‘s alterity œ an altermodern move that goes beyond 54 55 dialectics (Guillet de Monthoux, Gustafson, & Sjostrand 2007). 56 57

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1 2 3 Play - from Performance to Mystery 4 5 6 7 8 The concept of play has in recent years become synonymous with a popular and 9 10 superficial version of postmodernity, which has led to it unfairly being ascribed a depthless 11 12 gloss that belies its significance for human experience and, crucially, learning and creativity. 13 14 Recent political appeals for the knowledge economy to become the creative economy have 15 16 forced the concept to bear unjustified and fantasised messianic weight, but this should not 17 18 19 detract from the importantFor work Peer that has been Reviewdone to recognise that play is of fundamental 20 21 importance ontologically, aesthetically, ethically, poetically, politically, and interactively to 22 23 human experience, idea-work and origination (Carlsen, Clegg & Gjersvik, 2012). Play is also 24 25 ontologically important for Derrida (1967/1978a) as the condition of possibility of human 26 27 28 representation systems œ all meaning is fundamentally in play, and ultimately undecidable 29 30 (though not practically indeterminate). For Deleuze and Guattari (1984; Linstead & Thanem, 31 32 2007), play is characteristic of the multiplicity of being and responding to life, and offers a 33 34 means of emancipation from the gridlike striations of regulated social and epistemological 35 36 spaces. In other words, play is not added to essentially stable experience, making it move in 37 38 39 unaccustomed directions, but is always already within experience which is itself mobile. 40 41 Rather than play being disruptively immanent within order, it is order that is immanent within 42 43 play. Order is a reductive achievement resulting from play, that becomes retrospectively 44 45 naturalised, such that play appears to be an exogenous insertion of the Other œ disorder œ into 46 47 48 normal experience. Opening up to play opens up a creative route to alternatives, possibilities 49 50 and otherness that is interior as well as connecting to new exteriorities. But this otherness 51 52 frequently provokes a defensive reaction rather than a cooperative response. 53 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 12 of 53

1 2 3 For many people, when confronted with the mysterious, the other, the instinct is to 4 5 kill it. Then it can be examined. (Joy Williams in Winner, 2014) 6 7 8 9 10 For ”many people‘ in Williams‘ individualistic formulation, we can more collectively 11 12 read ”institutions‘, where defensive reactions become ritualized, programmed and 13 14 paradigmatic. Normal science research has accordingly struggled to understand and engage 15 16 play as smooth (the fluid ontological position we have just described) rather than striated (as 17 18 19 subject to and examinedFor in Peer terms of an orderedReview epistemology). It effectively models 20 21 structures and causes, and seeks to ”capture‘ elements of action through immobilising 22 23 typifications, but ”slides over the surface of things .. obscures the way in which a reeling 24 25 present is composed out of heterogeneous and non-coherent singularities‘ (Stewart, 2007, p. 4 26 27 28 emphasis added). Recognising this problem, in an attempt to break the strictures of 29 30 mainstream methodologies, some social science research (eg. Thrift, 2008) has attempted to 31 32 embrace experimental practice from the arts to explore the connections between everyday 33 34 experience and the avant-garde. Anthropologist Michael Fischer (2007) œ one of the 35 36 architects of the —interpretive turn“ in the social sciences in the 1980s - takes this further in 37 38 39 arguing that experimentation is characteristic of both the arts and the sciences, and field 40 41 sciences like anthropology can and should also be experimental but following an arts model 42 43 rather than that of a laboratory science (although again this is not an either/or choice). 44 45 Experiment in the sciences prioritizes control and the monitoring of variation; in the arts, it is 46 47 48 about enabling responses to variation in the field context. Following this turn, we will argue 49 50 that key moments that form the basis of ”events‘ œ phenomenal experiences that change 51 52 understanding œ provide the hinges between everyday experience and artistic practice 53 54 because they affect us, and call for a response in action or performance: we are in some way 55 56 moved, and characterised by that motion, which is thus performative. These moments in 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 13 of 53 Organization Studies

1 2 3 everyday life Kathleen Stewart (2007) terms ”ordinary affects‘ that burst through the constant 4 5 motion of experience, which she in the quote above calls its ”reel‘ - as in the spinning, 6 7 8 swirling dance that may involve any number of people in any order. This apprehends culture 9 10 differently from Geertz‘s (1973) idea of ”thick description‘ œ it suggests that culture, as a 11 12 dynamic means of dealing with common human problems, both congeals and evaporates, and 13 14 as Poulos (2009) argues is sometimes stretched thin, producing ”hierophanic spaces‘ where 15 16 the individually and collectively suppressed - trauma, ecstasy, fear, desire, and mystery œ may 17 18 19 break through and Forsurprise us intoPeer insight, new Review knowledge and even healing. The polysemy 20 21 of Stewart‘s metaphor also allows complementary interpretations: first, the idea of a fishing 22 23 rod ”reel‘, with which we try to catch elements of a swirling reality, with the ”feel‘ of a 24 25 fisherman (researcher) playing his fish (reality)-loaded line; and second, the idea of a film 26 27 28 reel, that carries both arresting momentary images and unfolding diachronic narrative that we 29 30 apprehend with a cinematic consciousness (Mullarkey, 2009). This sense of being on the 31 32 edge of a shifting something I will call ”critical affectivity‘ as regards playful research 33 34 practice. Goodall would regard it as an apprehension of mystery. 35 36

37 38 39 Mystery begins in a feeling, something deep, poetic and sweet. 40 41 42 43 You get caught up in it. You get caught up in it fast. Little raptures of being alive 44 45 ripple down the back of your neck, trickle like ice crystals doing an unknown, familiar 46 47 dance across the constant heat of your spine. This is what it is like, this is where it 48 49 50 begins. Mystery is like a seductive voice deep into the way cool and hot of the music 51 52 that you suddenly discover is singing to you, directly to you, only to you, breaking 53 54 you away from what you thought you were, which until that very moment you 55 56 thought was the whole and substance of your life. Mystery changes all of that 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 14 of 53

1 2 3 because mystery changes you. Mystery defines you in the casting of its spell, in 4 5 something as simple as the enchantment of a voice, a voice inviting you to dance, a 6 7 8 dance that promises something you will always remember or, maybe, that you will 9 10 never forget. (Goodall, 1991, p. xi) 11 12 13 14 Goodall (1991, p. 22-46) may write like a rock guitarist taking a break between sets 15 16 in a smoky Southern swamp club (which he was) but as he retunes he brings a substantial 17 18 19 legacy of anthropologicalFor and Peer literary thought Review into the hitherto less funky arena of 20 21 organizational research. His poetic solo flights are firmly grounded in the dynamics of the 22 23 everyday. He is emphatic that organizational ethnography requires a well-balanced concern 24 25 with the play between context, self and other as they thread themselves across the warp and 26 27 28 weft of communication. Context will emerge more fully in our discussions of the aesthetic 29 30 moment and the political moment; self is dramatically present in the poetic moment; the other 31 32 (as person/s) is encountered in the ethical moment, the Other (as the machinery of power) in 33 34 the political moment. But as Goodall argues the overridingly important issue is connection œ 35 36 and the fact that as Deleuze and Guattari argue connections are not static but rhizomatic, 37 38 39 constantly in play, disconnecting, reconnecting, and finding new intersections. Responding to 40 41 this cultural dynamism requires the exercise of imagination, and as Henry James (in 42 43 Crapanzano. 2010. p.vi) observed ”when the mind is imaginative …. It takes to itself the 44 45 faintest hints of life, it converts the faintest pulses of the air into revelations‘. For Goodall, 46 47 48 following Kenneth Burke, these everyday hints and pulses are intimations of mystery: 49 50 51 52 Mystery arises at the point where different kinds of beings are in communication. In 53 54 mystery there must be strangeness, but the estranged must also be thought of in some 55 56 way as capable of communication…. Even the story of relations between the petty 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 15 of 53 Organization Studies

1 2 3 clerk and the office manager, however realistically told, draws upon the wells of mystery 4 5 for its appeal. (Burke, 1969, p.115 cited in Goodall, 1991, p.xiv) 6 7 8 9 10 Goodall is not merely repeating recent social constructionist arguments that the 11 12 meaning of the social is intersubjective, and lies in the conversational space between subjects 13 14 in which they co-create (eg Hibbert, Sillince, Diefenbach, & Cunliffe, A.L 2014). He 15 16 recognises that co-witnessing and co-production are key processes for Conquergood (2013, 17 18 19 Kindle ed loc 805)For but for Goodall Peer they are not Review the whole story. He (Goodall, 1991, p. xiii- 20 21 xiv) adopts the view of Gabriel Marcel, who sees mystery as encouraging us to see ourselves 22 23 as ”integrally connected to others, as co-constructors of a developing narrative of life‘ in 24 25 which these narratives become intertwined and entangled (without reducing them to 26 27 28 ”intertextuality‘ [Conquergood, 2013, Kindle ed loc. 1054]). Marcel distinguishes mystery 29 30 from problem œ which ”encourages us to divorce our experiences and sense of self from 31 32 others…. Not to engage or mingle with them on the level of narrative but create narratives 33 34 that —solve the problem“‘. This distinction has been made, in a somewhat reduced way, in 35 36 management and organization studies by, inter alia, Alvesson and Karreman (2007). But 37 38 39 Goodall‘s sense of mystery is deeper, more intense, potentially more expansive than this, and 40 41 above all, felt in the field. 42 43 44 45 Goodall‘s impassioned account of mystery sets up manifestations of context, self and 46 47 other as —clues“ to something beyond themselves that is, precisely, the mystery embedded in 48 49 50 any piece of field research œ the mystery that does not succumb to any ready-made solutions. 51 52 His reaction demonstrates an aesthetic moment, but also presages what we are about to 53 54 discuss as the poetic moment: and at the same time his emphasis on change, and change that 55 56 is unavoidable, recognises with Stewart those reeling —ordinary affects“ that take us by 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 16 of 53

1 2 3 surprise as events, events after which we are not the same. We experience more fully, and see 4 5 the world differently. Critically affective performative texts seek to engage this connection 6 7 8 between the everyday and elusive mystery, bridging the aesthetic and poetic moments, the 9 10 ethics and politics of context, self and other. 11 12 13 14 15 16 Playing with Mystery: The Four Moments 17 18 19 For Peer Review 20 In the next section I will demonstrate how experience and creative insight can be 21 22 23 linked and can inform —play-full“ research practice. At the core of the thinking here is the 24 25 concept of the —moment“ in both of its common senses: as a point relative to other points that 26 27 acts upon them either in time, as a sequence, or in space as a mechanical lever. Here, both of 28 29 these senses can be simultaneous, and in complex texts several moments of leverage where 30 31 art is grounded in the everyday may operate on each other. 32 33 34 35 36 The origins of the specific terms are diffuse. The aesthetic moment is perhaps quite 37 38 familiar in practice although the term as such is not widely used. It denotes a moment of 39 40 epistemological amnesia where what we know is displaced by what we sense. Here 41 42 43 significance is sidelined in favour of appearance: superficial beauty makes us forgetful of 44 45 self, and context. Whilst Rosalind Krauss and Jean-Paul Sartre are relevant sources, I modify 46 47 and elaborate their work here. For this account, the aesthetic moment has two dimensions: the 48 49 aesthetics of (direct or recalled) experience (sensuous experience, subjective affect, 50 51 sensation, feeling, expression) and the aesthetics of representation (eg language, metaphor) 52 53 54 that focus us on the sensuous form and texture of experience in a loss of —self“- 55 56 consciousness. Alongside Antonio Strati (1999) and Nicolas Bourriaud (2009) I suggest that 57 58 aesthetics is relational and the two nevertheless distinct dimensions interplay. 59 60 http://mc.manuscriptcentral.com/orgstudies Page 17 of 53 Organization Studies

1 2 3 4 5 The usage —poetic moment“ appears very widely in literary criticism, often without 6 7 8 specification or amplification. The sense in which it is used here derives from the critical 9 10 work of Christopher Ricks (Linstead 2000) and it refers to those moments, in life or text, in 11 12 which significance bursts in to stop the flow of action, a moment of insight or trauma, and the 13 14 importance of the moment of incipience as the creative impetus that opens up experience to 15 16 art. As we have suggested, it is where the space of commonplace associations and habits of 17 18 19 meaning is thinnest,For and new significancesPeer break Review through from the context into the frame of 20 21 action, occluding distinctions between self and other. Similar points can be found in the work 22 23 of Jean-François Lyotard (1994) and organization theorist and former actor Iain Mangham 24 25 (1996) who refers to the moment —when the breath stops“. There is a less aesthetic use of the 26 27 28 term to be found in Katz and Shotter (1996) and Cunliffe (2002) which refers to moments 29 30 when, as a result of the use of metaphor, language becomes less forgetful of itself, less 31 32 routine and taken-for-granted. They take the term —poetic“ from Wittgenstein, but their sense 33 34 seems closer to our account of the aesthetics of experience than the stronger sense of 35 36 significance we are giving to the poetic moment. 37 38 39 40 41 The ethical moment has no direct antecedents in relation to art, referring as it does in 42 43 which the other is encountered in a way that cannot be avoided - that may awake empathy, 44 45 hostility or a sense of responsibility. It resonates particularly with the work of Emmanuel 46 47 48 Lévinas, and with a thread that can be found throughout the work of Michel Foucault from as 49 50 early as Madness and Civilization where art is the means responsible for keeping reason and 51 52 unreason in touch with each other, mediating the excesses of either. The political moment is 53 54 that revelatory point where the way in which issues have been foreclosed or are about to be 55 56 foreclosed by power or ideology is exposed, and the challenge and possibility of alternatives 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 18 of 53

1 2 3 opened up. This understanding can be found in critical theory, throughout the Frankfurt 4 5 School, and in the more recent work of Slavoj Šišek. I argue that these four moments 6 7 8 interact to produce varieties of critical momentum which are disruptive of customary 9 10 assumptions, and affective impact, which involves the senses and body, to create a critically 11 12 affective work. This work can be considered performative, as it acts to move its audience in 13 14 thought and feeling, and regarded as text in that it is a weave of voices, perspectives, images, 15 16 techniques, materials and actions. It need not be primarily written, and illustrative examples 17 18 19 given below involveFor music and Peer painting. The interacReviewtions of the four moments constantly in 20 21 play thus produce a critically affective performative text that engages the body and mind of 22 23 its audience. 24 25 26 27 28 29 30 31 32 33 The Aesthetic Moment 34 35 36 37 The aesthetic moment, as we have noted, is a moment when we are drawn into the 38 39 simple experiencing of a thing as given. Form, feeling, sensation, affect or appearance draw 40 41 us out of ourselves and our immediate context and towards an object as object. It has two 42 43 main variants - the aesthetics of experience (which can be direct, or recalled) and the 44 45 aesthetics of representation. 46 47 48 Stewart (2007, p.29) argues that our direct experience of reality is fragmented, partial, 49 50 51 and emergent but this does not necessarily mean that we need submit to the temptation to 52 53 master it in narrative, however strong. Sometimes, this reality will appear to organise itself, 54 55 and she quotes Wallace Stevens‘ poem, July Mountain, to make the point that 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 19 of 53 Organization Studies

1 2 3 We live in a constellation 4 5 Of patches and pitches, 6 7 8 Not in a single world. 9 10 11 12 We cannot always know when some sort of order will just throw ”itself together in a moment 13 14 as an event and a sensation: a something both animated and inhabitable‘ out of the ”shifting 15 16 assemblage of practices and practical knowledges‘ that is the partially assembled ordinary 17 18 19 (Stewart, 2007, p. For 1). These adPeer hoc ordinary Review affects are public and shareable, but are also 20 21 ”what seemingly intimate lives are made of… an animate circuit that conducts force and maps 22 23 connections, routes and disjunctures‘ (Stewart, 2007, p. 2-3). These moving things that can 24 25 affect us so deeply often aesthetically catch us unawares. 26 27 28 29 30 For example, Captain Keith Sholto Douglas (2009) was simply doing his job in WWII 31 32 North Africa in 1941. He began the campaign as a camouflage officer, disguising vehicles, 33 34 guns and other objects, and completed it as a tank commander. A poet and artist, he kept a 35 36 vivid diary of his experiences. He reports looking up from his duties one day: 37 38 39 40 41 Up above the clear blue sky, a solitary aeroplane moved, bright silver in the sunlight, 42 43 a pale line of exhaust marking its unhurried course. The Bofors gunners on either side 44 45 of us were running to their guns and soon opened a rapid thumping fire, like a titanic 46 47 workman hammering. The silver body of the aeroplane was surrounded by hundreds 48 49 50 of little grey smudges, through which it sailed on serenely. From it there fell away, 51 52 slowly and gracefully, an isolated shower of rain, a succession of glistening drops. I 53 54 watched them descend a hundred feet before it occurred to me to consider their 55 56 significance and forget their beauty. (Douglas, 2009, Kindle loc. 263) 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 20 of 53

1 2 3 4 5 Douglas was, of course, being bombed by German Stukas, and his life was in danger 6 7 8 from the moment he first glimpsed them. But such was the fascination of their aesthetic 9 10 appearance that he was drawn towards them, unable to look away, forgetful of his own 11 12 situation - he was in command of a tank; the context œ they were in a column of tanks 13 14 preparing for battle; and the hostile intentions of the other, signalled by the aggressive 15 16 presence of enemy aircraft. Beauty is dramatically disconnected from truth and goodness. 17 18 19 This voyeuristic self-forgetfulnessFor Peer is also noted Review by Rosalind Krauss (1994, p. 111-13) in her 20 21 analysis of Jean-Paul Sartre‘s essay, The Look. Sartre, peeping through a keyhole, becomes 22 23 so absorbed in what is before him that he forgets the body that is behind, that literally gives 24 25 him away, and ultimately, if this body is discovered by others, will return him to its 26 27 28 significance and his own voyeuristic guilt. But drawn aesthetically into the ”thickened‘ scene 29 30 of conscious fascination with the observed, self and significance slip away, and he is hooked 31 32 œ vulnerable and exposed. 33 34 35 Another example of this type of aesthetics at work comes from the autobiography of 36 37 dramatist, singer and award winning songwriter Ewan MacColl. MacColl worked with radio 38 39 40 producer Charles Parker and musician Peggy Seeger between 1957-64 to produce a ground- 41 42 breaking series of seven Radio Ballads that uniquely combine natural recorded speech 43 44 without narration, and original song based on this ”actuality‘, which they collected using 45 46 innovative methods of social inquiry (Linstead, 2007; McKenzie, 2008). The first four 47 48 programmes dealt with occupational experiences œ a railway disaster, building a motorway, 49 50 51 North Sea fishing, and deep-mining of coal. Whilst recording for the third programme in the 52 53 series, the award-winning Singing the Fishing, MacColl noted that contextual and 54 55 background noise were as important for the ambience as individual speech was for content: 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 21 of 53 Organization Studies

1 2 3 We kept [the tape recorders] running while we sat at meals in the galley and in the 4 5 wheelhouse, where a radio-receiving set kept up a continuous chatter of information 6 7 8 from every drifter within a fifty-mile radius….. We caught the marvellous burst of 9 10 excitement as the look-out sighted a shoal; —Herring on the port bow! Herring! 11 12 Herring!“ We were there to hear the skipper, Frank West, cry out like a man in the 13 14 throes of religious ecstasy: —There they are, the silver darlings!“ We recorded the 15 16 rhythmical clacking of the winch as the two-mile long nets were played out… we 17 18 19 waited on theFor blacked-out Peer deck as the menReview pulled the herring-filled nets from the sea, 20 21 hour after hour, until it seemed that the world was a bottomless hole from which the 22 23 shimmering green fire of herring would never stop rising… (MacColl, 1999, p. 322) 24 25 26 27 28 Here the sounds combine with the lack of light to create an effect that is rhythmic, 29 30 hypnotic, almost delirious. The auditory sense is so foregrounded that when we read that the 31 32 green herring are tipped from the nets, and momentarily reflect the available light, it is almost 33 34 possible to hear them hitting the deck. So compelling were the sounds surrounding them as 35 36 they tried to follow the work that in their eagerness to record them they could become 37 38 39 spectacularly forgetful of their immediate circumstances: 40 41 42 43 I am sailing with them through the Northern Minch in a seven-point gale. The 44 45 Honeydew looks and feels like a toy boat lost in the grey wilderness of sea and sky. At 46 47 48 one moment she is lifted to the summit of a great peak and the next she‘s ploughing 49 50 through a deep trough ridged by banks of white-topped waves. I stand there on the 51 52 deck, terrified, clinging desperately with one hand to a steel cable, while with the other I 53 54 hold up a microphone in a vain effort to record the storm. (MacColl, 1990, p. 323) 55 56

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1 2 3 Participant researchers are often similarly, if less perilously, drawn into the aesthetic 4 5 and sensual frame of the physical experience, forgetting self and even the body, as they 6 7 8 experience pure sensation as a ”body-without-organs‘ (Deleuze & Guattari 1987). In these 9 10 experiences we are returned to a heightened awareness of what the body senses, alerted to 11 12 different dimensions of a no longer taken-for-granted context, and eventually survive them to 13 14 resume our place in the world of significance with a renewed sense of self, others, and life at 15 16 work. 17 18 19 For Peer Review 20 21 The question of the capacity of aesthetics to return us to awareness of the capabilities 22 23 of our body surfaces again in the consideration of recalled experience. MacColl, as an actor 24 25 and playwright, was very familiar with Constantin Stanislavsky‘s (2013, esp ch. IX) 26 27 28 influential ”Method‘ for acting with emotional authenticity and carried its influence into his 29 30 research for the Radio Ballads. In interviewing Sam Larner, an eighty year-old retired 31 32 fisherman from Winterton, Norfolk, MacColl and Parker found they had to develop their 33 34 strategy as they went along in order to access their informant‘s exceptional narrative 35 36 resources. Their in-depth biographical interviewing took over two and a half weeks, and after 37 38 39 the first few days of the broad outlines of his life and work, they ”played back the recordings 40 41 and noted carefully which type of question and method of questioning elicited the best 42 43 response‘ (MacColl, 1990, p. 319). As the next period of recording unfolded 44 45 46 we probed and constantly changed the perspective of our questions, until his 47 48 emotion-memory was in full flight and he began to relive and re-feel the experiences 49 50 51 and emotions of three quarters of a century earlier… (MacColl, 1990, p. 319). 52 53 54 55 As they progressed, his energy and motivation would ebb and flow, but nevertheless 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 23 of 53 Organization Studies

1 2 3 There were times when the force of memory was so strong in the old man that he 4 5 would forget we were present and re-enact conversations with friends and neighbours 6 7 8 dead these fifty years… in each successive recording session his eagerness to reveal 9 10 the meaning of his life became more apparent. .. the more deeply he entered into his 11 12 past the more rich and varied became his verbal imagery. (MacColl, 1990, p. 319 13 14 emphasis added). 15 16

17 18 19 MacColl‘s Forpoint here isPeer that Larner‘s bodyReview memory of his experiences remained so 20 21 strong that when connected with his narrative memory the experiences were not simply re- 22 23 told, but re-lived, vitally and vividly (Johnson, 1987). The aesthetic moment here occurs 24 25 through this connection to communicate this affect dramatically, giving the narrative a sense 26 27 28 of lived reality beyond the storyline. Few if any interviewers in management and organization 29 30 studies appear to have the time, or even the patience and inclination, to work with an 31 32 interviewee so carefully and sensitively œ and to achieve, in this case, unexpectedly moving 33 34 results. 35 36

37 38 39 That Larner became more eloquent the more engaged his emotions were leads us to 40 41 our next aesthetic consideration - of representation. The first Radio Ballad was the story of 42 43 tragic hero John Axon, a railway train driver who sacrificed his life to save others by staying 44 45 aboard to warn them when his brakes failed and the train became a runaway. MacColl began 46 47 48 his research in order to collect what he thought was background material. The plan, following 49 50 radio custom and practice, was to talk to people who had worked and lived with Axon and 51 52 use the recordings as a guide for a dramatic reconstruction to be performed by actors and 53 54 musicians. But on playing back the recordings, the speech was striking: as MacColl put it, at 55 56 57 times 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 24 of 53

1 2 3 encapsulating a lifetime‘s experience in a simile….we had captured a remarkable 4 5 picture of a way of life. A picture in words charged with the special kind of vitality 6 7 8 and excitement which derives from involvement with a workprocess… the excitement of 9 10 an experience re-lived and communicated without additive and without dilution. 11 12 (MacColl, 1990, p. 312-3) 13 14 15 This vivid example from an old railwayman emphasises how the railway culture 16 17 permeates the railwayman‘s life and being: 18 19 For Peer Review 20 21 22 The old [steam] railwaymen, it was a tradition…it was part of your life, it went 23 24 through… railways went through the back of your spine like Blackpool went through 25 26 rock (actuality from The Ballad of John Axon 1957; later misquoted in MacColl, 1990, 27 28 p. 312-3)2 29 30 31 32 33 Another example of a culturally compelling image came from a mechanic who 34 35 worked on earth-moving equipment, interviewed for the second in the series, Song of a Road 36 37 (1958), the story of the construction of England‘s first motorway. An ex-military engineer, 38 39 40 who after travelling the world during the war did not feel comfortable with a stationary role, 41 42 commented: 43 44 45 46 I didn‘t want to go back to work in a garage.. I mean a garage is all right but it’s a 47 48 rusty old life. 49 50 51 52 53 Here the play between language, emotion and the object of the description dissolves 54 55 each into the other, immanent, as MacColl observed, with life, with vitality beyond reduction 56 57 to its elements. This growing awareness prompted MacColl and Parker to reflect further on 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 25 of 53 Organization Studies

1 2 3 the aesthetics of relationality. MacColl noted that the near-obsession with technical 4 5 processes they had displayed in Song of a Road had remained impenetrable to most listeners. 6 7 8 But the listeners had learned from the qualities of the language that had emerged from those 9 10 most closely involved with the work. The point was one that many ethnographers would do 11 12 well to absorb, that 13 14 15 16 [We] should not be primarily concerned with work processes, but with people‘s 17 18 19 attitudes andFor responses toPeer those processes; Review in other words, not with things, but with 20 21 the way people related to things and the way in which those relationships were 22 23 expressed in words. (MacColl, 1990, p. 318) 24 25 26 27 28 This marks a shift away from the ”social realism‘ of which they were often unjustly 29 30 accused and to which Parker took particular exception: 31 32 33 34 —social realism“….means nothing to me in this work. I traffic in illusion, not in 35 36 —realism“; my concern ….. is to recreate, in a work of radio art, the deeply felt 37 38 39 experience which derives from direct experience of a particular situation…. I am not 40 41 so arrogant as to assume that the tape recorder empowers me to purvey the —reality“ 42 43 direct. (Charles Parker, letter to The Listener 1959 in BBC archive emphasis added) 44 45 46 47 48 What is primary here is the relationship of self, context and other and how that shapes 49 50 51 the aesthetics of the everyday, and second, what matters in the creative performance text is its 52 53 affectivity œ the way in which it produces a response in the listener or reader that may or may 54 55 not re-create the direct experience of a situation but can at least evoke it and trigger parallel 56 57 or overlapping emotion-memories in its audience. This is why MacColl and Parker‘s work 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 26 of 53

1 2 3 remains instructive, as it demonstrates a principle that was carried through to the highly 4 5 successful revival of the form by producer John Leonard for the BBC in 2006, and its 6 7 8 continuation in 2010 and 2012. 9 10 11 12 13 In the aesthetic moment, play is the constant shifting of perspectives. It may be 14 15 contained in a sensitivity to qualitative changes in the flow of everyday experience, or in the 16 17 experimental effort to see differently and change scene dramatically to see what emerges. It is 18 19 For Peer Review 20 phenomenal rather than phenomenological in that meaning is largely irrelevant, sense and 21 22 affect paramount. But of course, textual aesthetic moments are also relational, and are most 23 24 effective when they articulate with the other moments. 25 26 27 28 29 30 The Poetic Moment 31 32 33 The poetic moment is in some ways the opposite of the aesthetic moment. Rather than 34 35 being drawn into the appearance of context, and forgetful of significance, it is a moment 36 37 where the realization of significance rushes in so powerfully and so quickly that the breath is 38 39 40 often, literally, taken away. Something is revealed, unconcealed, though not articulated 41 42 (Mangham, 1996). Such a moment is found in the everyday life of a Welsh miner‘s wife in 43 44 the fourth programme of the Radio Ballads, The Big Hewer - a moment very similar to 45 46 one that is captured by Alfred Lord Tennyson in his poem In Memoriam, that Ricks identified 47 48 49 as definitively ”poetic‘. 50 51 52 53 After the unexpected death of his friend, Tennyson is disconsolate, and finds himself 54 55 walking the streets at night, unable to sleep. His feet lead him to the door of his friend, and as 56 57 he is about to knock, the realization comes to him that this habit will no longer suffice. There 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 27 of 53 Organization Studies

1 2 3 will be no answer: his friend is no longer there, and never will be. Tennyson pauses in the 4 5 moment of ”incipience‘ œ the moment of awareness just before action resolves matters this 6 7 8 way or that œ that has been regarded as the critical moment in artistic consciousness by 9 10 Lyotard (1994). His life-space, in Poulos‘ (2009) terms, has become stretched gossamer thin. 11 12 But just as the moment of eternal loss engulfs him, so the indifferent world reminds him, 13 14 from a distance, of its own inexorable continuation in change as ”far away the noise of life 15 16 begins again…. On the bald street breaks the blank day‘ (Tennyson, In Memoriam Section 17 18 19 VII; see Linstead, 2000,For p. 81-2). Peer Review 20 21 22 23 A century later, and more than a hundred miles away, every miner‘s wife knows that 24 25 when her husband goes to the pit, the hooter sounds for shift start and again at shift finish. If 26 27 28 ever it sounds between those appointed times, it means there has been an accident. All the 29 30 miner‘s wife can do is wait to see if her husband has been killed or injured. As she sits at 31 32 home, she listens for the footsteps approaching along the street, pausing, like Tennyson at the 33 34 door. If the door opens it is her husband, safe and well, bringing her life back. If there is a 35 36 knock, it is the deputy with news that he has been killed or injured and her life will never be 37 38 39 the same again. It is a terrible sound ”that knock on the door‘ as she relates it with a musical 40 41 sadness in her voice, but the poetic moment is in the pause just before it, when the terrible 42 43 awareness of possibility and not knowing fills it with incipience. 44 45 46 47 48 The space that the poetic moment inhabits is therefore just in advance of ordinary 49 50 affects, before the change, and is, as we have noted, what Poulos (2009) calls ”thin‘ or 51 52 ”hierophanic‘: where some truth is about to be revealed, almost ready to break through to the 53 54 surface, quite the opposite of the thickly delineated spaces that Geertz (1973) describes. It is 55 56 the moment of mystery where art works, in trying to apprehend the mystery, not by 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 28 of 53

1 2 3 positioning itself in the undecided space between yes and no (BBC producers are often 4 5 encouraged to do this) but by remaining and struggling in the undecidable space before yes 6 7 8 and no, as possibilities, were delineated. 9 10 11 12 We stay in the leap ahead of any yes and no (Heidegger, 2006, p. 5 emphasis added) 13 14 15 Any event, even an ordinary one, that reveals ”truth‘ opens up ”the co-presence of the 16 17 open and the closed that is at the heart of the truth-event‘ (Peters, 2013, p. 118). As Peters 18 19 For Peer Review 20 argues truth events are incomprehensible œ indeed the more comprehensible and 21 22 representable they seem the more elusive truth becomes, as ”the real issue here is the play of 23 24 unconcealment and concealment‘. Truth tends to withdraw secretively into itself the more we 25 26 pursue it, and for Heidegger (1971, p. 59) it is the practical skill of the artist, or technē, that 27 28 ”brings forth what is present as such out of concealedness and specifically into the 29 30 31 unconcealedness of their appearance‘. But here there is no coincidence of the world (that we, 32 33 selves and others, construct) and the earth (that is our context). World tends to proceed as a 34 35 ”self-opening openness of the broad paths of simple and essential decisions‘ whereas Earth 36 37 tends towards the ”spontaneous forthcoming of that which is continually self-secluding and to 38 39 40 that extent sheltering and concealing‘. The tension between world and earth is ”strife‘ œ or the 41 42 play - between knowing and not knowing, where the knowingness of art is that it knows it 43 44 does not know, and not knowing is ”the ground from which creativity springs‘ (Atkinson 45 46 , 2013, p. 136). This is the terrain of the poetic moment, where play inhabits the tension 47 48 between knowing and not-knowing, rather like a coiled spring that releases poeisis as a 49 50 51 creative, aesthetic and critical process. Whilst, in our ordinary affects, 52 53 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 29 of 53 Organization Studies

1 2 3 Not knowing comes unannounced; still there are methods for increasing the likelihood 4 5 of its occurrence, Moreover, what can be prepared is a capacity for recognising its 6 7 8 advent, for noticing its arrival (Cocker, 2013, p. 128) 9 10 11 12 Or, as we are arguing in this paper, for recognising the poetic moments in which not- 13 14 knowing is set to work, in play with the other moments, so that affect can be mobilised and 15 16 aesthetics can allow the critical and creative to catalyse the event. 17 18 19 For Peer Review 20 21 The Ethical Moment 22 23 24 25 The ethical moment is the inescapable moment of contact with, connection with, response 26 27 28 to and responsibility for, the experience of the other. It may look backward in sympathy or 29 30 empathy, but its reality is the present, the now, and its burden the future, what is to come. 31 32 Another of the Radio Ballads, The Body Blow, demonstrates this empathic responsibility in 33 34 shifting the focus of the series away from production and concentrating on the experiences of 35 36 five recoverers from crippling poliomyelitis, which reached epidemic proportions in the 37 38 39 1950s. It focuses on specific moments in their experience of pain, and uses a montage 40 41 technique of short quotes from each speaker on the same micro-topic to convey each 42 43 experience powerfully. One such focus is on the returning of consciousness after the initial 44 45 coma, where bodies that are otherwise numb and paralysed nevertheless feel agonies they 46 47 48 can‘t communicate. One speaker, very matter-of-factly, describes the waves of sensation 49 50 arriving and says ”you just have to let yourself get carried away on the pain‘. This remarkable 51 52 metaphor confronts the listener unforgettably with an experience that is probably quite alien 53 54 to them, but in a way that takes them inside the experience, evokes the feeling, and changes 55 56 forever their perspective on the illness. The programme proved so powerful that, although not 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 30 of 53

1 2 3 in any sense easy listening, it was used for training in the National Health Service for many 4 5 years. 6 7 8 9 10 Getting the listener inside the experience provides the punctum, the point of human 11 12 contact around which the ethical moment turns. In Bob Dylan‘s tragic masterpiece The 13 14 Ballad of Hollis Brown, a failing South Dakota farmer, faced with starvation, kills his wife 15 16 and children and then commits suicide. Dylan strips the traditional ballad of refrain and 17 18 19 chorus and hangs hisFor narrative onPeer the bleached boneReviews of its rhythmic carcass. But what makes 20 21 the ballad so powerful is its apostrophising directness. Dylan sets the scene briefly, but 22 23 quickly shifts the perspective by dragging the listener into the scene œ Brown becomes you, 24 25 his situation is yours, his crying children are your children, his pitiful parched crops are 26 27 28 yours, the burning torments in his brain are yours, his every desperate act of survival is your 29 30 own, and the approaching inevitable decision that must be made is appallingly yours. The 31 32 ballad is not satisfied merely to recount a real story œ which it is œ it makes that reality ours. 33 34 We are returned from these echoes of Dostoevsky and Poe to our own lives only at the very 35 36 end of this harrowing ordeal of a song when a distant and inert continuing world is invoked œ 37 38 39 one as obsessed with its own activities and immured to the protagonist‘s pain as Tennyson‘s, 40 41 and one at whose door the tragedy and responsibility are firmly laid. 42 43 44 45 Play here brings the face of the other unforgettably into play. As Lévinas (1969) 46 47 48 suggested, and as Lingis (2000) avers, once the life-world of the other has been witnessed, 49 50 the subject is connected, and bears knowledge and responsibility for what may happen 51 52 beyond that moment. It may be that, as with Hollis Brown, that other is now unreachable, but 53 54 the situation carries the other‘s message to other contexts, other others, as a spectre that 55 56 haunts us. The mystery of the other‘s suffering opens up and bears the tension between our 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 31 of 53 Organization Studies

1 2 3 personal situation, the scene witnessed, the connection felt, and the desire or not to intervene 4 5 to try to create difference. Affect means that we are touched by the other, marked by their 6 7 8 experience. And as Stewart (1996) argues, this brings others that would be or have been 9 10 discarded, dis-located into a space on the side of the road of human progress, back onto the 11 12 carriageway rather than disappearing as a distant speck in the rear-view mirror. 13 14 15 16 17 The Political Moment 18 19 For Peer Review 20 21 The political moment is the moment when difference becomes visible, audible or 22 23 tangible as inequality, divergence of interests, and disparities of power, even suppression and 24 25 oppression œ raising questions of conflict and change. Our example here is an organizational 26 27 28 case from Goodall (1991). Goodall reveals a moment when an individual, acting in good 29 30 faith, realizes they are merely a pawn in a game that is almost certainly nested in another 31 32 bigger and more mysterious game, played by unseen others. As we arrive at this vignette, he 33 34 has already wrestled with some ethical issues, as he has been hired as a consultant by a senior 35 36 manager of a company in which Goodall has a friend working. The friend has confided that 37 38 39 that he considers himself to be the target of the senior manager‘s inquiry and expects to be 40 41 fired. Goodall then speaks to the senior manager, who really wants to fire nobody, but brushes 42 43 several problems relating to his own managerial style, that he considers insignificant, under 44 45 the carpet. Out of the blue, Goodall then receives a destabilizing phone call from a 46 47 48 powerful woman, one of the owners of the company. She demands first sight of any reports 49 50 Goodall produces, implying that it is the senior manager, unbeknownst to himself, who is 51 52 indeed not the agent but the real target of the exercise. The investigation leads Goodall to the 53 54 conclusion that, though he is well-meaning and some of the problems are not of his own 55 56 making, the senior manager is incorrigible and has to go. The powerful woman meets 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 32 of 53

1 2 3 Goodall secretly, at night in a shabby diner in a different city, dressed down in inconspicuous 4 5 clothing. He reveals his findings, and adds that the senior manager has asked him to write a 6 7 8 report that —recommends minor repairs and that makes him (the SM) out to be a scapegoat, 9 10 wronged by others“ (Goodall, 1991, p. 60). The response is unexpected. 11 12 13 14 She smiles, faintly. —That is precisely the report I want you to write“, she says. There is 15 16 something in her eyes, but I cannot name it. 17 18 19 —Why?“ For Peer Review 20 21 —Because that is the version of the truth that is acceptable to me, that is acceptable to 22 23 him, that won‘t cause problems, and it is, after all, Mr Goodall, the story you were hired 24 25 to discover. I believe that is the report I want you to circulate.“ 26 27 28 —You mean you actually want me to give my report to everyone, but write the report in 29 30 a way that is favourable to him?“ I am incredulous. 31 32 —Yes. You see, Mr. Goodall, this isn‘t a classroom where grades can be given at the end 33 34 of the semester. This is real life where the stories that people believe are far more 35 36 important than the stories they have been assigned to learn. You should also know that I 37 38 39 have already retained another consultant, this one a lawyer, who will find fault with the 40 41 report you write and who will construct another version of this story.“ 42 43 —But why?“ 44 45 —Because it requires many actors telling many stories to make a believable play*, some 46 47 48 of whom are never seen on the stage.“ She pauses, smiles again faintly. —And 49 50 sometimes those who are seen on the stage are only placed there so that a particular 51 52 story can be told, a particular flaw pointed out.“ 53 54 —And I thought I was the guy writing this story.“ 55 56 —Don‘t we all, Mr. Goodall? Don‘t we all?“ (Goodall, 1991, p. 60-1) [*emphasis 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 33 of 53 Organization Studies

1 2 3 added] 4 5 6 7 8 Goodall submits the report. His friend tells him everyone feels a little better, but that 9 10 another consultant has been brought in. He read Goodall‘s report and said it was ”full of shit‘. 11 12 A year later the senior manager resigned. Goodall noticed a photograph in the local paper, as 13 14 the manager accepted a farewell plaque from the powerful woman. 15 16

17 18 19 There was stillFor something, Peer something ineffable, Review in her eyes. (Goodall, 1991, p. 62) 20 21 22 23 Play, here at the micro level, is power play. The powerful woman actually herself 24 25 invokes the metaphor of theatrical play, acting in, staging and scripting events. She not only 26 27 28 acts powerfully through her performance behind the scenes, but exercises power through her 29 30 speech, using her metaphor to shape his understanding of his role, placing and displacing 31 32 others in the social drama that is unfolding. He plays his part, but his inability to discern the 33 34 ineffable message in her eyes both returns him from the game to the interpersonal relation of 35 36 self and other, whilst connecting in him, however weakly, to some mystery beyond that 37 38 39 perception œ which remains unresolved. 40 41 42 43 Macropolitics can also stand in need of a specific human connection. In 2010, 44 45 producer John Leonard and musical director Andy Seward crafted an award-winning Radio 46 47 48 Ballads special on the UK Miners‘ Strike of 1984-5. Two songs from this stand out as good 49 50 examples of exploring interior perspectives that get behind the psychological scenes of the 51 52 epic confrontation. The first is Julie Matthews‘ poignant Behind the Picket Lines, an 53 54 integration of music and actuality that invites us into the story of the women who supported 55 56 the strikers and organized volunteer welfare services. What is particularly powerful is the 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 34 of 53

1 2 3 quiet humility of the women who reflect on their ordinariness and find it hard to believe the 4 5 quite extraordinary things they achieved, themselves. Jez Lowe similarly and hauntingly 6 7 8 unearths contrasting perspectives on strikebreaking blacklegs in The Judas Bus, such buses 9 10 being specially armoured, caged vehicles provided with government support to allow miners, 11 12 particularly from Nottinghamshire, to cross picket lines to get into work. Lowe manages to 13 14 convey an unaccustomed sensitivity from the blacklegs, some of whom genuinely struggled 15 16 with the dilemma of conflicting loyalties between family and workmates, whilst finding a 17 18 19 corresponding sensitivityFor in thePeer hurt felt by theReview pickets, often simply presented as bullies, 20 21 when taunted by some of the blacklegs, and even the police, waving their bulging overtime 22 23 paypackets. 24 25 26 27 28 The political moment is moment of poeisis and humanity. But it loses these under the 29 30 weight of imposed politics. MacColl himself wrote political song, including one that became 31 32 the anthem of the Miners‘ Strike, but his political convictions too frequently overpowered his 33 34 sensitivities on encountering a potentially poetic moment within a political situation 3. Where 35 36 Lowe is able to explore tensions and ironies, even agonies, MacColl tends to become bitter, 37 38 39 didactic, and rabble-rousing. For MacColl there is no reflection needed: his is a mind already 40 41 made up, and he tends to musically pamphleteer to others whose minds are in the same 42 43 condition. Lowe homes in on the poetics within the political moment to find that space of 44 45 tension, contradiction and human undecidability, to leave us exposed, poised and reflective. 46 47 48 Although we know whose side he would come down on faced with a decision that is ours 49 50 alone to make, he allows us to savour the difficulties whichever side we choose: strikers, 51 52 police, blacklegs œ even managers œ and places these categories into question. 53 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 35 of 53 Organization Studies

1 2 3 Whether the field of play is micro or macro, play here is always power play. But it is 4 5 also the play between micro and macro, the interaction of the parts. With the Miners‘ Strike, 6 7 8 where the macro politics were epic, tragic, and much mythologised on both sides, where 9 10 MacColl poetically merely mans the picket lines, Lowe and Matthews restore humanity to the 11 12 politics by putting the personal back into play with the context, destabilizing the 13 14 confrontation between selves and others, and invoking humanity as mystery. The art is in the 15 16 tension, and the tension is creative. 17 18 19 For Peer Review 20 21 Playing Together: Critical Affectivity 22 23 24 25 I would rather risk being didactic than lapsing into blandness - or end up writing 26 27 28 novels about writers writing novels (Hines, 2009, p. v) 29 30 31 32 And so the quandary I face in this section. I‘m already writing about writing, although 33 34 trying to temper that with as much of the real thing as possible, and another step back from 35 36 immediacy might well be one step too far œ for my reader, my argument, and my credibility. 37 38 It‘s an easy step to make, and I may even have already done it. 39 40 41 42 43 Scholarship is by default bland in comparison to most forms of writing, even to some 44 45 of its most cultish adherents. Taking risks is not recommended. Happily I can call upon two 46 47 people who have already taken those risks for me, and over the course of 300+ pages each 48 49 50 have also managed to integrate their innovations with enough conventional analysis and 51 52 discussion to be awarded doctorates and have their theses published. But they don‘t always 53 54 read like PhDs: 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 36 of 53

1 2 3 It was a hot summer afternoon… I was standing in front of an old movie theatre. The 4 5 Palace. It looked like there had been a rock concert there the night before. The place 6 7 8 looked messy. Deirdre, who turned out to be a Northern beauty, picked me up at the 9 10 entrance. She had an athletic, but very feminine figure, and was smartly dressed. She 11 12 wore light, white trousers and a silk blouse. I felt overdressed, and overheated, in my 13 14 grey suit. We went up the wooden stairs. They creaked heavily. 15 16

17 18 19 I found it strangeFor and excitingPeer to have anReview appointment with the police in a place that 20 21 looked like a big squat. The Palace‘s second youth, that of a pop temple, was over. To 22 23 me, the dumpy old cinema looked like a perfect place to start thinking differently 24 25 about police work and to work on breakthroughs. But what would the coppers on the 26 27 28 project think about this third generation of the Palace? 29 30 31 32 On the first floor was an office. The door was open. I saw another young woman 33 34 behind her desk, She was a brunette in her late twenties. Deirdre introduced me to her 35 36 colleague project leader, Claire Thomas. Claire stayed behind her PC as we shook 37 38 39 hands. I made some remarks about their daring housing. We laughed 40 41 . 42 43 I followed Deirdre‘s jaunty steps to another room that probably used to be the foyer of 44 45 the cinema. Now it was decorated with policeman‘s caps, coats of arms of other 46 47 48 police forces, motorcycle models and a picture of a Hindustani guy with a Harley 49 50 Davidson. Deirdre explained that the regional police force didn‘t have enough office 51 52 space to house the FIT project organization. —So we rented this place. but to be honest 53 54 I‘m allergic to dust and the place kills me.“ (Bruining, 2005, p. 19). 55 56

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1 2 3 Critical affectivity combines the critical capacity to analyse and disrupt with the 4 5 creative capability to affect. Critically affective performative texts stimulate a poeisis of 6 7 8 creativity, affect and critique that opens up and non-prescriptively provokes change and 9 10 innovation at personal, organizational and social levels. The four moments, when they act 11 12 relationally together, produce critical momentum that both energises and focuses the critically 13 14 affective performative text. Bruining (2005) was involved in a consultancy project on 15 16 institutional learning and was puzzled to find as the work progressed that a progressive police 17 18 19 department, that hadFor been inaugurated Peer to introduce Review innovative policing practices (including 20 21 those from other countries) into the Netherlands was closed down, despite its apparent 22 23 success. He wanted to discover what the wider organization had learned from it, and whether 24 25 its work lived on. As a hard-bitten HR professional, he nurtured a healthy cynicism with 26 27 28 regard to organizational attachment to ”learning‘ and HR‘s capability to affect this. As his 29 30 further inquiries progressed, he struggled in encountering the insufficiency of standard forms 31 32 of social inquiry to convey the messiness of his encounter with the cultural processes of 33 34 policing. Then it hit him. The department was dead. There was a body. No-one could say who 35 36 killed it. There were suspects. The aesthetic form he needed to convey his experience 37 38 39 effectively was that of the detective story œ or as he expresses it the ”novel-report‘. 40 41 42 The published account is at times like reading a detective mystery as in the extract 43 44 above, where the short sentences and the casually sexist description echoes the Black Mask 45 46 or ”hard-boiled‘ detective genre that peaked with Hammett or Chandler yet still evokes 47 48 something quite contemporary. But this is not simply a matter of style: the reader ”feels‘ the 49 50 51 complex tensions within the organization and learns to ”read‘ its peculiar lexicon, and 52 53 regardless of the endless variety of public reports on policing and TV detective series, gets a 54 55 sense of the administrative and emotional complexities of managing police work and learning 56 57 from experience, whilst all the time meeting the needs of a simultaneously vulnerable yet 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 38 of 53

1 2 3 demanding public. Bruining‘s detective story, influenced by Czarniawska and Goodall, is 4 5 both more and less than an unravelling of the mystery for the passive reader œ it begins with 6 7 8 an aesthetic moment, a rainy but otherwise quiet night that opens out in the early hours into a 9 10 reflection on the nature of learning that leads us into the quest for ”truth‘ in the organization. 11 12 He presents different perspectives of which the reader can make what they will, a text he 13 14 intends to be ”writerly‘ in Barthes‘ terminology, the reader actively completing its trajectory. 15 16 In this his model is not Black Mask, but a Japanese short story by Ryunosuke Akutagawa, ”In 17 18 19 a Grove‘, which For also sets outPeer perspectives withoutReview resolution. Bruining sets in motion 20 21 tensions, emotional conflicts, contradictions, political power struggles and ethical moral 22 23 mazes, doing this by deploying a range of textual styles, images, and innovations in form and 24 25 structure. Rather than undertake the predictable review of the literature, he does what a 26 27 28 detective would do œ interviews the suspects and gathers the evidence (perspectives). He 29 30 presents these accounts (suspects‘ perspectives) in the first 150 pages, then returns to his 31 32 library (or his 221b Baker Street) to take an abductive route to reviewing the literature and set 33 34 out the theoretical lines along which he will proceed to discuss the evidence. Instead of the 35 36 traditional thesis summary and recommendations, or a revelatory conclusion in the style of 37 38 39 Agatha Christie, assembling the suspects around the log fire of a country mansion, and telling 40 41 each of them how they were involved before finally revealing the killer, he addresses 42 43 personal letters to each of the nine individual and group ”suspects‘ (who had dispersed around 44 45 the country after the closure of the department, some to promotions), and these missives form 46 47 48 his final epistolary chapter. There was no ”killer‘, but there were connections and there were 49 50 consequences, as well as surprises and accidents. The department had closed, but there was 51 52 no closure: just more mystery. So rather than deploy the centrifugal force of most detective 53 54 stories, he tried to bring the multiple narrratives onto the same stage but keep them in motion, 55 56 with centripetal force, as ”the enduring prospect of alternative configurations; (Bruining, 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 39 of 53 Organization Studies

1 2 3 2005, p. 267-8). And for those who like that sort of thing, there is a whole chapter where he 4 5 writes about writing about writing. 6 7 8 9 10 Whilst Bruining does not deploy the four moments explicitly, they are clearly present 11 12 and at work in his discussions which, as a critically affective performative text, have the 13 14 explicit objectives of taking a critical approach to opening up multiple perspectives and 15 16 ”touching the reader‘ (Bruining, 200, p. 228). The account makes the personal, political, and 17 18 19 ethical issues comeFor alive through Peer what is a Review poetic aesthetic form œ following the form 20 21 sensitises the reader to the affective impact of key moments in the unfolding story as 22 23 initiatives get blocked, colleagues are betrayed, people take credit for the work of others, 24 25 invisible fingers appear to pull strings. Whilst he experiments with form in his 26 27 28 ”ergonography‘ (Czarniawska 1997), the ideas he employs to disrupt tradition are drawn from 29 30 textual and narrative theory. Chris Kuiper (2006), in contrast, does explicitly focus on two 31 32 moments, the aesthetic and poetic; he incorporates the visual into his methodology, and more 33 34 radically disrupts textual perspective., drawing on a wider range of aesthetic theory to better 35 36 suit the material with which he is engaged, as Bergson recommends. If Bruining‘s study is a 37 38 39 hybrid of research report and detective novel, Kuiper‘s blends with a visit to a modern 40 41 gallery, where abstract paintings and fragments of textual perspective are presented 42 43 simultaneously œ and bodily experience is rethought. 44 45 46 47 48 For it is bodily experience œ the experience of damaged bodies œ that is at the heart of 49 50 Kuiper‘s (2007) inquiry. With a background in physical occupational therapy, he was 51 52 becoming increasingly frustrated that the way that the work was being represented, through 53 54 standardized managerial report forms and summaries, in the name of quality assurance, was 55 56 distorting the subtleties of interaction and the skills needed to ensure positive therapeutic 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 40 of 53

1 2 3 outcomes for patients. It was pandering to control needs of administrative bodies, a political 4 5 issue, rather than expressing what happens when consultation encounters are successful in a 6 7 8 relational and ethical experience. He eventually adopted the position that relations change 9 10 and successful outcomes become possible through emergent poetic moments within the 11 12 therapeutic interaction. However, the parties involved have not been trained to identify and 13 14 respond to these moments, and reports are conditioned to ignore them, or treat them as 15 16 inconsequential if recorded. Kuiper chose to incorporate a radical methodology, but not in 17 18 19 isolation. On the backFor of extensive Peer qualitative resReviewearch to produce ”thick description‘ and key 20 21 issue analysis, he videotaped specific therapeutic encounters. 22 23 24 25 I identified between eight and twelve poetic moments œ fragments of between ten and 26 27 28 thirty seconds œ in each interview, and showed them to Ronald (Hillemans) an artist. 29 30 Together we chose one ”meaningful‘ poetic moment per interview. Our discussions 31 32 were recorded. Ronald made a two-dimensional artwork based on the poetic moment 33 34 selected. He made five paintings. The professional was asked to read and reflect on 35 36 the painting referring to her/his practice. (Kuiper, 2007, p. 9) 37 38 39 40 41 Kuiper‘s brief discussion here might suggest a reductiveness to his approach, but this 42 43 is misleading. His discussion of theory and method is nuanced and extensive, fine-tuned and 44 45 fine-grained, and incorporates reflection by the artist on the nature of the co-production that 46 47 48 this essentially comprises. Whilst Hillemans has skills that Kuiper does not, there is much 49 50 more of a sense of mutual discovery than expertism about the project. Drawing on a thorough 51 52 pursuit of the concept in his literature review, Kuiper is initially applying the —weak“ sense of 53 54 the everyday poetic in Cunliffe (2002) and Katz and Shotter (1996) and then focusing on the 55 56 stronger and more eventful sense that we have taken here (Linstead, 2000). The feedback 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 41 of 53 Organization Studies

1 2 3 sessions, in various interpretations of the poetic moment and the artist‘s rendering were 4 5 shared, were also recorded. This facilitated the surfacing of points where the routine 6 7 8 representation in language of the work of the therapeutic encounter was disrupted (Kuiper, 9 10 2007, p. 13-14) The mode of presentation of the data was also an aesthetic intervention, in 11 12 that three sets of accounts œ the formal written requirements for therapeutic encounters, the 13 14 researcher‘s observation of the encounter, and the therapist‘s comment on the event and the 15 16 painting œ were included together by splitting each page in three, so they were immediately 17 18 19 both connected andFor set into playPeer with each otherReview (Kuiper, 2007, p. 15), each chapter also 20 21 including the full-colour painting. What emerged was both highly personal, ethical in its 22 23 engagement with the other, and inevitably political as it showed dramatically how the system 24 25 was failing to do any kind of justice to therapists, patients and the ”mysterious‘ elements of 26 27 28 their encounters, whilst opening out to something that powerfully but inexpressibly linked all 29 30 the participants. Kuiper was also able to mount a robust critique of policy arising from his 31 32 creative and ”playful‘ research. 33 34 35 36 The visual and textually innovative trajectories of both of these pieces of playful 37 38 39 research meet and are further developed in recent work by Brown and Wood (2009) and 40 41 Linstead (2015) in the form of the film essay or essay-film (Corrigan, 2011; Rascaroli, 2009), 42 43 and associated discussions of the possibilities of using film as a research output alongside, or 44 45 even with priority over, text (Berkeley, Wood & Glisovic 2016; Wood 2015; Wood & Brown 46 47 48 2011, 2012; Wood & Rowlins 2016). Brown and Wood‘s (2009) multi award winning short 49 50 documentary Lines of Flight takes its title from Deleuze and Guattari‘s concept where 51 52 a line of flight ”pushes back or constitutes a form of resistance against the confines of modern 53 54 life, be it social, psychological or physical‘ (Wood & Rowlins, 2016, p. 5). The film rests on 55 56 the paradox that the rock quarried from the Pennine Hills of northern England built the 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 42 of 53

1 2 3 factories and mills that effectively imprisoned the labourers of the industrial revolution, yet 4 5 came to provide a means of escape from that drudgery œ lines of flight œ of which solo rock 6 7 8 climbing, ascending without ropes or protective equipment constitutes the purest form. The 9 10 film draws on poetry, literature and philosophy, with an aesthetic that sets upland landscapes 11 12 against retail park brand-scapes, obsessive industriousness and addictive consumption, and 13 14 plays richly with the visual possibilities of ”lines‘. Occasionally breathtaking images of real 15 16 risk and danger draw an embodied reaction from its audience œ an affect that is intended to 17 18 19 set in motion the For urge to reflect. Peer As film, itReview has an overt aesthetic, but unusually for a 20 21 documentary is replete with aesthetic moments œ our breath is caught by a dangling climber‘s 22 23 spidery weightlessness as he swings impossibly on gritty fingers to the safety of an overhang 24 25 - poetic moments are also present, as much in the unscripted reflections of the climbers as in 26 27 28 the well-chosen poetry extracts. The film sets its critical and political purpose out clearly 29 30 from the beginning, although it does it subtly and layers its arguments, interlacing the with its 31 32 ethical position that solo climbers, rather than being selfish adrenalin junkies, are in search of 33 34 a more authentic relation with nature that transcends the physical. The four moments work 35 36 powerfully together to an extent that has been recognised by film festivals, the film having 37 38 39 received official selections, competitive screenings, and two category wins internationally. 40 41 42 43 These Fragments (Linstead, 2015) is also landscape-based, though not at all action- 44 45 based, setting out on a disquieting quest to explore what remains of the coal industry in post- 46 47 48 industrial South Yorkshire, 30 years after the Miners‘ Strike and in the year that deep mining 49 50 in the UK ceased permanently. It takes its theme from a comment by mining photographer 51 52 Pierre Gonnord, who commented on the closure of Spanish mines that ”the woods will grow 53 54 back, but the human silence will be terrible‘. Upon a matrix of industrial ruins and almost 55 56 abandoned villages, it features people only through their voices and music, the poignant 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 43 of 53 Organization Studies

1 2 3 ambiguous tensions being evoked but not resolved œ a pharmacology in Bernard Stiegler‘s 4 5 (2013) terms that requires curation rather than resolution. The aesthetic is melancholic rather 6 7 8 than nostalgic, and the poetics animated through literally spectral voices echoing in displaced 9 10 communities. The politics are overt but again voiced as much by the landscape as the people, 11 12 the ethics taking the form of an agonistic unanswered questioning. The film has also been 13 14 modestly successful in competition, with international screenings, one second place, and 15 16 finalist and semi-finalist selections. Both films can be viewed online.4 17 18 19 For Peer Review 20 21 Both films seamlessly illustrate the working together of the four moments in 22 23 producing critically affective performative texts, without necessarily having been constructed 24 25 for that purpose. They both constitute ergonographies in that they explore ethnographic issues 26 27 28 in relation to work, interrogating the relations between work and community rather than 29 30 focusing solely on either, seeking to arouse what Pulitzer Prize-winning educator Robert 31 32 Coles (1989) called the —moral imagination“ of their audiences by engaging their senses and 33 34 emotions as well as their intellects. 35 36

37 38 39 Final play 40 41 42 I don‘t know how to count the way a person feels looking out of an office window, or 43 44 how to deconstruct the simmering hatred between co-workers that manifests itself in 45 46 small acts of semiotic terrorism (Goodall. 1989, p.142). 47 48 49 We began with a question, that while organizational aesthetics is alive and well and 50 51 growing as a field, and recognises the advantages of using artistic form to look at aesthetic 52 53 54 issues in organizations, there is actually little research that does use artistic form to do just 55 56 this. There are a number of issues perhaps hampering the actualisation of such methods. One 57 58 is the tension between approaches that seek to promote arts practices in organizations for 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 44 of 53

1 2 3 essentially productive means, such as stimulating creative output that can be commodified, 4 5 and other approaches that see artistic creativity as the source of challenge to organizational 6 7 8 and managerial orthodoxies that can potentially engage the sort of phenomena that puzzle 9 10 Goodall in the quote above. But our point of departure was to observe the link between 11 12 ethnography and aesthetic research, and to recognise the connections between art and 13 14 everyday experience. Looking at a variety of ways of thinking the everyday and expressing it 15 16 creatively in ethnography, drawn from literary-philosophical anthropology and the work of 17 18 19 Conquergood, GoodallFor and Stewart Peer in particular, Review we proposed the performative nature of 20 21 artistic texts (a text being broadly understood as a weave of techniques that may be symbolic, 22 23 material or verbal) in having the intention to move their audience affectively, intellectually 24 25 and practically. Taking the idea of cultural poeisis to include that critique may not necessarily 26 27 28 be oppositional to development, but is essential for creative movement, we suggested that 29 30 what is needed are critically affective performative texts. 31 32 33 For such texts to be defensible, and thus a viable form for researchers to consider 34 35 adopting, we argued for the need to understand how they work to generate critical 36 37 momentum, and to grasp what possible lines are available for justifying creative approaches 38 39 40 that challenge orthodox organizational research in being neither objective, representational 41 42 nor expressive. We also suggested that there is no absolute need to accommodate artistic 43 44 expertism by outsourcing the creative elements of such research, although this remains an 45 46 important option, as Kuiper demonstrates, as long as there are clear guidelines that enable the 47 48 researcher‘s efforts to be related to those of the artist and integrated where necessary. To 49 50 51 facilitate this we outlined four moments that work in play with each other to create powerful 52 53 texts, and illustrated them by drawing on a range of sources from literature, music, poetry and 54 55 art, some of which were drawn from workplace and organization studies. 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 45 of 53 Organization Studies

1 2 3 Two concepts œ play and mystery œ are inextricably linked in the critically affective 4 5 performance text. The aesthetic and poetic moments in these texts recognise that the —reeling“ 6 7 8 world does not come to us neatly packaged, and does not slot neatly into a linear, or even 9 10 episodic, narrative, and respond to it in ways that mainstream research and its associated 11 12 discourses are unable to achieve. They activate neglected dimensions of seeing and feeling, 13 14 which some research (Cunliffe, 2002) has already highlighted, but they take this awareness 15 16 beyond language, and transmit motion and emotion as well as sense to their audiences and 17 18 19 use this to open upFor tensions that Peer may remain unresoReviewlvable, wounds that may be dressed but 20 21 perhaps not healed. The critically affective performance text makes play experimental and 22 23 exploratory in moving into areas of experience - hierophanic spaces - where assumptions, 24 25 taken-for-granteds and even deep suppressions are only thinly veiled (Poulos, 2009). These 26 27 28 spaces can connect to mystery in its widest sense (Goodall, 1991) creating greater awareness, 29 30 a powerful if troubling sense of not-knowing that enables new and further creative 31 32 connections. At this point it returns method from its epistemological and ontological 33 34 implications to its ethical, moral and political responsibilities. 35 36 37 At this point we might be expected to consider the ”so what?‘ question. However, we 38 39 40 should not as Judith Butler (1997, p. 15) argues, acquiesce to the negative performative 41 42 position of a ”replication of conventional notions of mastery‘. The four moments are not a 43 44 stepwise and functional guide to creating better texts œ that comes through the quality of 45 46 engagement of the creative artist with others, in particular contexts, as Goodall reminds us. 47 48 What the four moments do, again in Butler‘s (1997, p. 15) terms, is affirmative, ”opening up 49 50 51 the possibility of agency‘ through its relational aesthetics. Nevertheless, when that relational 52 53 aesthetic plays out in a production, we now have a set of signposts to analyse how it has 54 55 worked, how well art has facilitated a passage of play between the everyday and the 56 57 extraordinary, how well it has lived up to its responsibilities, whether it has shone its light 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 46 of 53

1 2 3 with too narrow a beam, and whether, given its context, that is allowable. There have been 4 5 increasing calls for greater exposure of management education to the humanities rather than 6 7 8 the hard sciences, to enable managers to better to respond to the essential humanity of human 9 10 organising (Colby, Ehrlich, Sullivan & Dolle, 2011). But this often involves looking outside 11 12 the field for resources, because the management and organization field itself does not 13 14 encourage or reward the generation of its own arts-related resources, and finds it difficult to 15 16 recognise their quality and precision precisely because they work in the spaces between the 17 18 19 concepts of propositionalFor logic. Peer Whilst further Review discussion and research is needed on the 20 21 possible modalities of producing critically affective performative texts, with greater reflection 22 23 on different ways of actualising the four moments, the framework offers a set of landmarks to 24 25 facilitate interpassage: a play between the humanities and organizational sciences that 26 27 28 remains to be fully realised. 29 30 31 32 33 References 34 35 Alexander, B. K. (2005) Performance Ethnography: The Re-enacting and Enciting of Culture 36 37 In Denzin, N.K. & Lincoln, Y. S. eds (2005) The Sage Handbook of Qualitative Research 38 39 rd 40 (3 ed pp 411-442) Thousand Oaks CA: Sage 41 42 Alvesson, M. & Karreman, D. (2007) Constructing mystery: empirical matters in theory 43 44 development. Academy of Management Review 32, 4, 1265-1281 45 46 Atkinson, D. (2013) Pedagogy of the Not Known in Barrett, E. & Bolt, B. eds (2007) 47 48 49 Practice as Research: Approaches to Creative Arts Enquiry (pp 136-145) London: I.B. 50 51 Tauris. 52 53 Barrett, E. & Bolt, B. (2007) Practice as Research: Approaches to Creative Arts Enquiry 54 55 London: I.B. Tauris 56 57 Barthes, R. (1973) S/Z Oxford: Blackwell 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 47 of 53 Organization Studies

1 2 3 Berkeley, L., M. Wood & S. Glisovic (2016) Screen Production Research, Theory and 4 5 Affect. Journal of Writing in Creative Practice 9, 1, 7-31. 6 7 8 Bhabha, H. (1994) The Location of Culture New York NY: Routledge. 9 10 Björkman, I. (2007) Beautiful Business. in Guillet de Monthoux, P., Gustafson, C. & 11 12 Sjostrand, S-E. Aesthetic Leadership: Managing Fields of Flow in Art and Business (pp 233- 13 14 248) Basingstoke, Hants: Palgrave Macmillan. 15 16 Blumenfeld-Jones, D. (2008) Dance, Choreography and Social Science Research In Knowles, 17 18 19 J. G. & Cole, A. L.For Handbook ofPeer the Arts in Qualitative Review Research (pp175-84) London: Sage 20 21 Brearley, L. & Darso, L. (2008) Business Studies: Vivifying Data and Experience through 22 23 Artful Approaches In Knowles, J. G. & Cole, A. L. Handbook of the Arts in Qualitative 24 25 Research (pp 639-5).London: Sage 26 27 28 Bruining, A. (2006) Learning Behind the Front Line of Public Service Epe NL: Drukkerij 29 30 Hooiberg. 31 32 Butler .J. (1997) Excitable Speech: A Politics of the Performative. New York: Routledge 33 34 Carlsen, A., Clegg S., & Gjersvik, R. (2012) Idea Work: Lessons of the extraordinary in 35 36 everyday creativity Oslo: Cappelen Damm Akademisk 37 38 39 Cocker, E. (2013) Tactics for Not Knowing: Preparing for the Unexpected. In Barrett E. & 40 41 Bolt, B. eds Practice as Research: Approaches to Creative Arts Enquiry (pp 126-135) 42 43 London: I.B. Tauris 44 45 Colby, A., Ehrlich, Thomas, Sullivan, William M., & Dolle, J (2011) Rethinking 46 47 CA 48 Undergraduate Business Education: Liberal Learning for the Profession San Francisco : 49 50 Jossey-Bass/Carnegie Foundation for the Advancement of Teaching 51 52 Conquergood, D. (2013) Cultural Struggles: Performance, Ethnography, Praxis Ann Arbor: 53 54 University of Michigan Press. 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 48 of 53

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1 2 3 Hymes, D. (1975) Breakthrough into Performance. In Ben-Amos, D. and Goldstein, K. 4 5 Folklore: Performance and Communication The Hague: Mouton. 6 7 8 Jones, C. (2003) As if Business Ethics Were Possible, ”Within Such Limits‘ . . . Organization, 9 10 10, 2, 223œ248 11 12 Johnson, M. (1987) The Body in the Mind: The Bodily Basis of Meaning, Imagination, and 13 14 Reason Chicago IL: University of Chicago Press 15 16 Kane, P., Linstead, S. A., & McMurray, R. (2007) Dialoguing Play ephemera 7, 2, 347-63. 17 18 19 King, I. & Vickery,For J. (2013) ExperiencingPeer Organization Review Oxford: Libri 20 21 Krauss, R. E. (1994) The Optical Unconscious Cambridge MA: October Books/MIT Press 22 23 Kuiper, C. (2007) The Eventmaker: the Hybrid Art of Performing Professionals, Work 24 25 Setting Rehabilitation Utrecht, NL: Uitgeverij LEMMA 26 27 28 Lévinas, E (1969) Totality and Infinity: An Essay on Exteriority Pittsburgh PA: Duquesne 29 30 University Press 31 32 Letiche, H. & Lightfoot, G. (2014) The Relevant PhD Rotterdam: Sense Publishers 33 34 Lingis, A. (2000) Dangerous Emotions Berkeley CA: University of California Press. 35 36 Linstead, S. A. (1984) Ambiguity in the Workplace: Some Aspects of the Negotiation and 37 38 39 Structuration of Asymmetrical Relations Ph.D. C.N.A.A. Sheffield City Polytechnic 40 41 Available online at http://shura.shu.ac.uk/3176/ 42 43 Linstead, S. A. (2000) Ashes and Madness: the Play of Negativity and the Poetics of 44 45 Organization in Linstead, S. A. & H. J. Höpfl eds The Aesthetics of Organisation (pp 61-93). 46 47 48 London: Sage. 49 50 Linstead, S. A. (2006) Exploring Culture through the Radio Ballads: Using Aesthetics to 51 52 Facilitate Change Management Decision. 44, 4, 474-85. 53 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 51 of 53 Organization Studies

1 2 3 Linstead, S. A. (2007a) Exploring Culture and Collective Identity Through the Radio- 4 5 Ballads in Pullen, A, Sims, D. & Beech, N. eds. Exploring Identity: Concepts and Methods 6 7 8 (pp 251-73). London: Palgrave. 9 10 Linstead, S. A. (2007b) The Comedy of Ethics: The New York Four, the Duty of Care and 11 12 Organizational Bystanding in R. Westwood & C. Rhodes Humour, Work and Organization 13 14 (pp 203-231). London: Routledge. 15 16 Linstead, S. A. (2010a) Popular Culture as Carnaval: The Clash, Play and Transgression in 17 18 19 the Aesthetic EconomyFor 1976-85 Peer in Townley, B. Review & Beech, N. eds. Managing Creativity: 20 21 Exploring the Paradox (pp 60-80). Cambridge: Cambridge University Press. 22 23 Linstead, S. A. (2010 b) Turning Rebellion into Money: The Clash, Creativity and 24 25 Resistance to Commodification in Townley, B. & Beech, N. eds. Managing Creativity: 26 27 28 Exploring the Paradox (pp 125-148). Cambridge: Cambridge University Press 29 30 Linstead, S. A. (2015) These Fragments: Voicing the Human Silence DVD dir S.A.Linstead 31 32 Barnsley: bellebete productions. 33 34 Linstead, S. A. & Höpfl, H. J. eds. (2000) The Aesthetics of Organisation London: Sage. 35 36 Linstead, S. A. & Thanem, T. (2007) Multiplicity, Virtuality and Organization: The 37 38 39 Contribution of Gilles Deleuze Organization Studies 28, 10, 1483-1501. 40 41 42 Linstead, S. & Brewis J., (2007) Passion, knowledge and motivation: ontologies of desire 43 44 Special Issue on The Passion for Knowledge in Organization 14, 3, 345-365. 45 46 47 Lyotard, J-F. (1994) Lessons on the Analytic of the Sublime Stanford, CA: Stanford 48 49 University Press. 50 51 MacColl, E. (1990) Journeyman: An Autobiography London: Sidgwick and Jackson. 52 53 54 Mangham, I. L. (1996) Beyond Goffman: Some notes on life and theatre as art Culture and 55 56 Organization, 2, 1, 31-41. 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 52 of 53

1 2 3 Maréchal, G & Linstead, S. A. 2010 Métropoems: Poetic Method and Ethnographic 4 5 Experience Qualitative Inquiry 16, 1, 66-77 6 7 8 McKenzie, C. (2008) Radio in/for Research: Creating Knowledge Waves. In Knowles, J. G. 9 10 & Cole, A. L. eds Handbook of the Arts in Qualitative Research (pp 337-349) London: Sage 11 12 Mullarkey, J. (2009) Refractions of Reality: Philosophy and the Moving Image, Palgrave 13 14 Macmillan. 15 16 Pelias, R. J. (2008) Performative Inquiry: Embodiment and its Challenges. In Knowles, J. G. 17 18 19 & Cole, A. L. eds HandbookFor of Peerthe Arts in Qualitative Review Research (pp 185-194) London: Sage 20 21 Peters, G. (2013) Ahead of Yes and No: Heidegger on Not Knowing and Art. In Fisher, E. & 22 23 Fortnum, R. eds. On Not Knowing : How Artists Think (pp. 110-119) London: Black Dog 24 25 Publishing 26 27 28 Poulos, C. (2009). Accidental Ethnography: An inquiry into family secrecy. Walnut Creek, 29 30 CA: Left Coast Press. 31 32 Ranciere, J. (2004) The Politics of Aesthetics: The Distribution of the Sensible, ed. & tr. 33 34 Gabriel Rockhill. London: Continuum 35 36 Rascaroli L. (2008) The Essay Film: Problems, Definitions, Textual Commitments. 37 38 39 Framework 49, 2, 24œ47 40 41 Rascaroli, L. (2009) The Personal Camera: Subjective Cinema and the Essay Film London: 42 43 Wallflower Press 44 45 Seeger, P. (2001) ed. The Essential Ewan MacColl Songbook New York NY: Oak 46 47 48 Publications. 49 50 Spry, T. (2011a) Performative Ethnography: Critical Embodiments and Possibilities. In 51 52 Denzin, N.K. & Lincoln, Y. S. eds (4th ed pp 497-512) The Sage Handbook of Qualitative 53 54 Research Thousand Oaks CA: Sage 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Page 53 of 53 Organization Studies

1 2 3 Spry, T. (2011b) Body, Paper, Stage: Writing and Performing Autoethnography Walnut 4 5 Creek CA: Left Coast Press. 6 7 8 Stiegler, B. (2013) What Makes Life Worth Living: On Pharmacology. Cambridge: Polity 9 10 Stewart, K. (1996) A Space on the Side of the Road: Cultural Poetics in an “Other” America 11 12 Princeton NJ: Princeton University Press. 13 14 Stewart K. (2006) Cultural poeisis: The generativity of emergent things. In Denzin, N. K. & 15 16 Lincoln, Y. S. Handbook of qualitative research (3rd ed., pp 1027-42). Thousand Oaks: Sage 17 18 19 Stewart, K. (2007) ForOrdinary Affects Peer Durham NC: Review Duke University Press. 20 21 Taylor, S. & Hansen, H. (2005) Finding form: Looking at the Field of Organizational 22 23 Aesthetics. Journal of Management Studies 42,6, 1211-31. 24 25 Thrift, N. (2008) Nonrepresentational Theory: Space, Politics, Affect. London: Routledge 26 27 rd 28 Toda, K. (2010) An Interview with Sir Christopher Ricks Part II. The Literateur January 23 29 30 Accessed at http://literateur.com/an-interview-with-sir-christopher-ricks-part-ii/ September 31 32 19th 2016. 33 34 Turner, V. (1982) From Ritual to Theatre New York NY: PAJ Publications. 35 36 Winner, P. (2014) Interviews: Joy Williams - The Art of Fiction No, 223 œThe Paris Review 37 38 39 209 Summer. Acccessed at http://www.theparisreview.org/interviews/6303/the-art-of- 40 41 fiction-no-223-joy-williams September 19th 2016. 42 43 Wood, M. (2015) Audio-visual production and shortcomings of distribution in organisation 44 45 studies. Journal of Cultural Economy, 8, 4, 462-478. 46 47 48 Brown S. & Wood, M. (2009) Lines of Flight: everyday resistance along England’s 49 50 backbone DVD dir S. Brown and M. Wood Sheffield: Brown Bear Productions. 51 52 Wood, M.,& Brown, S. (2011). Lines of flight: Everyday resistance along England's 53 54 backbone In: Organization, 18, 517 œ 540 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies Organization Studies Page 54 of 53

1 2 3 Wood, M., & Brown, S. (2012). Film-based creative arts enquiry: Qualitative researchers as 4 5 auteurs Qualitative Research Journal, 12, 130 œ 147 6 7 8 Wood, M. & J. Rowlins (2016) Interview with Martin Wood: A Filmmaker‘s Journey into 9 10 Research. IAFOR Journal of Media, Communication & Film 3, 1, 5-14. 11 12 13 1 This —as if“ condition also applies fundamentally to all language, philosophy, social 14 15 relations and crucially ethics, according to Derrida (1967/1978b, 2002). This has been 16 17 18 discussed in the context of organizational ethics by Jones (2003). 19 For Peer Review 20 21 2 —Rock“ is a colloquial term for a hard sugar syrup-based flavoured boiled sweet, usually 22 23 served by rolling out into short or long cylindrical —sticks“ 2cm or more in diameter. By the 24 25 26 clever use of layering and embedding different coloured mixes, letters could be formed into 27 28 words that could be read in cross-section running from end to end (or beginning to end). It 29 30 was usual for the town œ or more typically resort - where the rock was purchased to have its 31 32 name run through the product, and Blackpool was the most popular such resort in the North- 33 34 West of England, very convenient for Stockport where the research took place. 35 36 37 38 39 3 Daddy, What Did You Do in the Strike? (Seeger 2001:96-7) On the Picket Line (923) Holy 40 41 Joe from Scabsville (94-5). 42 43 4 Lines of Flight can be viewed through an online link embedded in Wood and Rowlins 44 45 46 (2016). These Fragments can be viewed at www.thesefragmentsfilm.com 47 48 49 50 51 52 53 54 55 56 57 58 59 60 http://mc.manuscriptcentral.com/orgstudies