The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self and (...) others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

This paper offers an alternative to deontological and utilitarian approaches to making ethical decisions and taking good actions by organisational leaders. It argues that the relational and context-dependent nature of leadership necessitates reference to an ethical approach which explicitly takes these aspects into account. Such an approach is offered in the re-conceptualisation of ethical action on the part of leaders as a process of “coming into right relation” vis-à-vis those affected by their decisions and actions. Heidegger’s notion of “dwelling” is (...) explored as a means of “coming into right relation”. Three aspects of dwelling: “staying with”, “comportment” and “active engagement” are described and ways in which they might be practically enacted by leaders are suggested. The paper concludes by reflecting on the ways adopting a “dwelling” approach to resolving ethical issues implies a re-conceptualisation of leadership itself. (shrink)

Approaches to business ethics can be roughly divided into two streams: ‹codes of behavior’ and ‹forms of subjectification’, with code-oriented approaches clearly dominating the field. Through an elaboration of poststructuralist approaches to moral philosophy, this paper questions the emphasis on codes of behaviour and, thus, the conceptions of the moral and responsible subject that are inherent in rule-based approaches. As a consequence of this critique, the concept of a practice-based ‹ethics of responsiveness’ in which ethics is never final but rather (...) always ‹to come’, is investigated. In such an approach the ethical self is understood as being continuously constituted within power/knowledge relations. Following this line, we ask how one can become a responsible subject while also acknowledging certain limits of full responsibility. We thereby explore responsibility as a considered but unconditional openness in response to the other. (shrink)

This paper, conceptually mainly informed by Michel Foucault’s notion of morality, ethics, and ethical practice, illustrates the power program and the moral codes which currently govern the professional field of the arts. Building on empirical material from the field of theatre, the paper discusses how the moral codes and subject ideals that are promoted through the ‘culturepreneurial’ program affect and shape the subjectivity of artists and their specific modes of organizing ethical relations to self and others (Foucault 1984, 1986). The (...) insights of the study emphasize that subjectification presents a dynamic and precarious process. Discursively promoted moral codes are used by the artists in a variety of ways; they are accepted, undermined, and re-created. While doing so, artistic professionals contribute to both their own subjection and in-subordination. (shrink)

The article clarifies the way in which ‘the aesthetic’ is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: ‘positive’ ones, ‘negative’ accounts and ‘Postmodern’ renderings. Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop (...) enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic’s ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic’s ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. (shrink)

We apply dialogism to ethical thought to form a theory of Dialogical Ethics (DE). Specifically, DE is defined as the interplay between four historic ethical traditions: Formal (Kantian) Ethics, Content-Sense (Utilitarian) Ethics, Answerability Ethics, and Value/Virtue (Story) Ethics. On a broader level, DE can be understood as the interplay between the ethical ideas of society. We then use DE to analyze a number of problems in business including sweatshop labor and environmental degradation. To counteract these injustices, we propose two recommendations: (...) (1) a rebalancing of Kantian and Utilitarian ethics in business with the ontological focus of Answerability and Value Ethics and (2) a revolution in business education. No longer can business education focus only on techne. Instead, educators must challenge students to develop phronesis, so that they become better able to understand how their actions and how our living stories interacts with the stories of others. (shrink)

So far aesthetics has played a limited role in our understanding of business activity, focused mainly on evaluating product quality and the character qualities (virtues) of the firm that produced them We draw on Heidegger’s fuller account of aesthetic value to show how a firm—like a work of art – can disclose the way human projects and technologies are already at work in a given context. In this way, we show that firms play an essential role in human self-understanding—a role (...) that Heidegger assigns primarily to works of art. We then apply the Heideggerian approach to the contemporary turn to artisanal products such as personalized handcrafts, craft beer and the “third wave” coffee movement. (shrink)

This paper draws on the work of Alain Badiou and Martin Heidegger to construct a postructural theory of the firm. The ideal firm is conceived as a technology that facilitates a technology-free void/site of potential. For actors within this firm to be ethical requires their achievement of human subjecthood through aesthetic fidelity to the site-induced events. Heidegger’s concerns regarding the enframing effects of technology and his recognition of the truth-revealing qualities of art, are incorporated here into a theory of the (...) firm as an idealized, technology facilitated, aesthetic void-of-potential revealing. Authentic human being thus implies that firms-as-technology ‘get out of the way’. This theory of the firm is further revealed through Badiou’s concept of event-driven human flourishing. We embrace Badiou’s ‘ethics-of-truths’ in which fidelity to the trace of an event creates human subjecthood. We consider implications of our theory-of-the-firm for social media firms such as Alphabet and Facebook. (shrink)