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Björn Müller
Title
Dr.
Last Name
Müller
First name
Björn
Email
bjoern.mueller@unisg.ch
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PublicationOrganizational Creativity Revisited : An audio-visual ethnography of the production of contemporary movement and dance theater as ‚making events work'( 2012-02-05)Most organizational creativity research can be regarded as torn between partial vantage points (Kallio, Barry, Visscher, & de Weerd-Nederhof, 2011), the 4 P's of creativity research - person, process, press and product (Rhodes, 1961). This approach must be seen in regard to two basic assumptions, methodological individualism inherited from psychology and economy, and organization theory's in most parts entitative and static view of organization. Relating these assumptions to the dominant tradition of ‘creativity as creation', in this paper I then propose a ‘forward' reading of creativity (Ingold & Hallam, 2007) resting on alternative, processual and relational assumptions tied to the minor tradition of ‘creativity as creating' (Hope Mason, 2003). This paper then aims at a specific practice-based account of organizational creativity, which allows to theorize organizational creativity in its non-teleological openness, its aesthetic and affective aspects and its collectivity. Opening up organizational creativity to the performativity of its practice then is the basic conceptual move allowing for an understanding of organizational creativity as ‘making events work'. As part of my ongoing PhD project, I draw on these concepts to analyze first material from my video-based, microethnographic studies of the performance-making processes in two different contemporary dance and movement theatre companies. The production of contemporary dance and movement theatre then is portrayed as a performative practice; sensing, attending and surrendering to a broad movement of materialities - the work of making events - and then consuming its own work, evaluating and channeling movement to practice's evolving purpose - the work of making events work.Type: conference paper
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PublicationOrganizational creativity's flavor : Taste-making as central practice in crafting contemporary dance and movement theatrePurpose - Presenting empirical findings from an ethnography on the making of contemporary dance and movement theatre, this paper aims to deepen our understanding of organizational creativity as practice driven by the nexus of idea generation and evaluation. From a practice-based perspective situated in a sociology of attachment (Hennion, 2004; 2007), the concept of ‘taste-making' (Gherardi, 2009) is thereby introduced as a central, performative practice (Hennion, 2004) elucidating the intricate interlacing of idea generation and evaluation. Design/methodology/approach - The paper draws on empirical data from a multisited video ethnographic fieldwork on the making of contemporary dance and movement theatre (CDMT), which has been part of my ongoing PhD project. The data has been analyzed according to the following research question: How is the making of contemporary dance and movement theatre realized by choreographic practices that interweave idea generation and evaluation in different forms of taste-making? Findings - The paper suggests that in different phases of a creative process taste-making is central to distinctive ‘tactics' (Certeau, 1984) of dance making. Three rehearsal tactics are presented in depth: ‘collective improvisation as assessocratic performance', ‘employing ‘le regard exterieur by turns' and ‘postponing closure - deferring taste-making to future assemblages'. These tactics are presented as pertaining to two dominant aesthetics of the chosen context, namely an ‘aesthetic of im/perfection' and a twofold aesthetic of ‘capitulation & closure'. Originality/value - The paper seeks to discuss organizational creativity from a practice-based approach based on process philosophy, distinguishing the various configurations of the idea generation and evaluation nexus, yet emphasizing their co-constitution in creative practice. By developing a conceptual framework around the performativity of practice and its inherent taste-making, the basic concept of practice is further opened up to the non-teleological openness, the collective (relational) aspects and the aesthetic aspects of a creative development process. The study thereby addresses a gap between creativity literature, mainly focusing on idea generation, and innovation literature, which mainly focuses on idea evaluation and implementation (Kijkuit & Van Den Ende, 2007). The paper is further contributing to the development of an aesthetics of organizational creativity as practice and therefore also draws on videographic data.Type: conference paperVolume: Sub-theme 47
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