Coffee is an important commodity and an important comestible, one that is momentous not only for nations’ economies but also, at the micro-social level, as a resource for interpersonal sociability. Among a subculture of certain coffee connoisseurs, the coffee itself is a topic that is an organizing focus of, and for, that sociability. This paper is an empirical investigation of online narratives produced by hobbyist participants in what coffee aficionados refer to as the third wave coffee phenomenon and engages and (...) challenges extant perspectives social aspects of taste by inspecting members’ insights concerning their conceptions of taste and their participation in a subculture that comprises taste as an important, central defining aspect. The analytic point of view deployed in this paper is ethnomethodological, one that, instead of emphasizing a priori the social structural characteristics of these connoisseurs as do Bourdieu (In: Distinction: A Social Critique of the Judgment of Taste, tr. Richard Nice, Routledge, New York 1984) and those who work in his tradition, emphasizes discovery of members’ own displayed understandings of the topic at hand. As such, this paper is more than an investigation of the coffee geek subculture but is also an invitation to an ethnomethodologically-informed sociology of taste. (shrink)

Motivated by contemporary debates concerning whether directors inappropriately deploy corporate funds for corporate political donations and the limited research into managerial influence on corporate political donations, we examine the impact of director influences from a network perspective. Using a sample of large listed Australian corporations and their political party donation activity during 2000–2007, we find that both the professional and non-professional networks of directors influence corporate political donations. We observe these influences in relation to donations at the federal and state (...) levels, and with respect to the choice of recipient political parties. (shrink)

With this paper, from the perspective of ethics at the workplace, we problematize the taken-for-granted assumptions embedded in the use of artistic freedom in creative processes. Drawing on the notion of inequality regimes (e.g. Acker, 2006) and using empirical material from a performing arts organization in Sweden, we explore how the assumptions of artistic freedom facilitate and legitimize the emergence of inequality regimes in invisible and subtle manners. Our findings indicate that non-reflexive interpretations of the concept of artistic freedom result (...) in ethical dilemmas that impact the organization's pursuits of equality work. The aesthetic ethics oriented around the notion of ‘art for the sake of art’ tends to camouflage the centralization of aesthetic authority in processes where formal hierarchical structures are missing. Consequently, asymmetrical power relations between the Directors, actors, and producers are legitimized. Ethics of quality of art and that of the social ideal of equality have been constructed as dichotomic notions indicating that aesthetic ethics of art can only be preserved at the expense of social objectives of equality. We argue that the current interpretative practices of ‘artistic freedom’ in some cultural organizations add little value of ethics to the freedom of expressing artistic opinions and in achieving the social ideal of equality but lead to the emergence of inequality regimes in the artistic work processes. (shrink)