_The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition includes selections (...) from Agamben, Butler, Guattari, Nancy, Virilio, and Žižek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, _The Continental Aesthetics Reader_ provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Rancière. (shrink)

This paper applies Alain Badiou’s ethic-of-truths to the context of business ethics. Business ethics is redefined as self-regarding, aspirational, and internal to a given firm. Firms are defined as sites. The event is a radical innovation experienced by a given firm. Ethics emerges as the challenge of fidelity to the truths engendered by the event.

Alain Badiou, one of the most powerful voices in contemporary French philosophy, shows how our prevailing ethical principles serve ultimately to reinforce an ...

The Art Firm explores the seemingly unorthodox alliance of the arts, management, and marketing. Art firms—as avant-garde enterprises and arts corporations—have existed for at least two hundred years, using texts, images, and other types of art to create corporate wealth. This book investigates how to apply the methods artists use in creating value to the methods more traditional managers use in running their businesses. Guillet de Monthoux offers a crash course in aesthetics from Kant to Gadamer, showing how aesthetic management (...) and metaphysical marketing can create value. Using case studies of successful art managers from Richard Wagner to Robert Wilson, the author illustrates the creative role—so central to value-making in contemporary economies—performed by aesthetic play in art firms. Along the way, Guillet de Monthoux points out how responsible aesthetic management and marketing can eradicate the problems of banality and totality, the two capital sins of an art-based economy. (shrink)

This paper identifies the ultimate justification for business activity as an aesthetic justification. Aesthetics, loosely defined as the appreciation of beauty, subsumes both ethics and economics within an holistic justificatory mechanism for business decisions. Five essential qualities of aesthetic judgment are identified: disinterest, subjectivity, inclusivity, contemplativity, and internality. The quality of aesthetic judgment, exercised by the individual through the organization, will determine the extent to which business activity enhances quality of life.

The paper begins by exploring whether a “tendency to avarice” exists in most capitalist business organisations. It concludes that it does and that this is problematic. The problem centres on the potential threat to the integrity of human character and the disablement of community.What, then, can be done about it? Building on previous work (Moore, 2002) in which MacIntyre’s notions of practice and institution were explored (MacIntyre, 1985), the paper offers a philosophically based argument in favour of the rediscovery of (...) craftsmanship by those who work in business organisations, and the exercise of craftsmanship in community.The practical implications for individuals of this way of conceptualising business, and the virtues which must then come to the fore, are discussed. (shrink)

The Aesthetic Relation is a companion volume to The Work of Art: Immanence and Transcendence, published by Cornell in 1997.

Businesses that maintain ethical standards have an advantage in the marketplace based on the increasing interest of consumers in products that have a social and ethical component. Fair trade organisations that adopt environmental, social and ethical principles in trading are in a good position to make the most of this growing interest in the market. However, it is unclear whether fair trade organisations are taking full advantage of emerging market opportunities for ethically traded products. This research explores this issue by (...) describing the business strategies of three fair trade organisations that import and sell craft goods into Western countries and evaluates them in the context of this growing market. The research findings indicate that in order to remain in business, fair trade craft organisations have had to adopt better business practices in recent years, improving quality, customer service and product offerings to customers. However, growth appears to be limited, as distribution remains focused on a small, niche market. This paper explores the distribution strategies of two fair trade commodity organisations that are successfully reaching a wider customer base, demonstrating that fair trade products have a unique selling advantage in the mainstream marketplace. In conclusion, fair trade craft organisations are not exploiting this market opportunity to the degree they should and will need to explore wider distribution and alternative business strategies to expand their market share. (shrink)

In part 1 of the paper, I develop a Platonic business ethic, emphasizing Plato’s Republic. I approach business ethics from a virtue ethics position, and I attempt to show that a Platonic craftsmanship model infuses a corporation with a type of managerial wisdom and justice, molds temperate and courageous corporate characters, and entails a morally fine type of self-interest. I also show that it is basic to two influential management theories.In part 2, I use Amartya Sen’s Development as Freedom to (...) show that the craftsmanship model is central to the concept of development. This concept is important in ethical discussions of both globalization and transnational corporations. Thus, I attempt to globalize Platonic business ethics using a craftsmanship model.In my concluding remarks, I attempt to show that the Plato/Sen position on development can be illustrated by both American and non-American capitalist firms functioning in our globalized world. (shrink)

Business ethics, as it is understood and practised generally, lacks a component of radicality. As part of the contemporary ‘return to ethics’ it displays an undesirable conservatism and blocks off possibilities for systemic alterity. I argue that a normal and ‘apologetic’ business ethics should therefore be supplemented with a radical or utopian business ethics. Put differently, business ethics should not only contribute to more responsible business practices, more morally sensitive business managers and more ethical organisational cultures, but should also facilitate (...) social hope via hermeneutic strategies aimed at changing the way we think about ourselves, our economies and the roles and responsibilities of business as such. (shrink)

Business ethics, as it is understood and practised generally, lacks a component of radicality. As part of the contemporary ‘return to ethics’ it displays an undesirable conservatism and blocks off possibilities for systemic alterity. I argue that a normal and ‘apologetic’ business ethics should therefore be supplemented with a radical or utopian business ethics. Put differently, business ethics should not only contribute to more responsible business practices, more morally sensitive business managers and more ethical organisational cultures, but should also facilitate (...) social hope via hermeneutic strategies aimed at changing the way we think about ourselves, our economies and the roles and responsibilities of business as such. (shrink)

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)