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We developed a mathematical model of the Arabidopsis circadian clock, including PRR7 and PRR9, which is able to predict several single, double and triple mutant phenotypes.Sensitivity Analysis was used to identify the properties and time sensing mechanisms of model structures.PRR7 and CCA1/LHY were identified as weak points of the mathematical model indicating where more experimental data is needed for further model development.Detailed dynamical studies showed that the timing of an evening light sensing element is essential for day length responsiveness

a r t i c l e i n f o a b s t r a c tThis paper argues that although authentic leadership may be rooted in the notion of a 'true self', it is through the embodiment of that 'true self' that leaders are perceived as authentic or not. In making this claim, we consider ways in which a somatic sense of self contributes to the felt sense of authenticity, and how through engaging with somatic cues, leadership can be performed in a way which is experienced as authentic, both to the leader and to those he or she seeks to lead. In developing our ideas further, we draw from the acting theory of Stanislavski (1936aStanislavski ( , 1936bStanislavski ( , 1961 to explore how authentic dramatic performances are created, focusing on the role of emotional memory, the magic 'if' and physical action in performances. We propose three key components of a resulting theory of how embodied authentic leadership is created: self exposure, relating, and making leaderly choices.

Direct questioning about the ‘felt sense’ of organizational actions or artefacts is an accepted way to explore organizational members’ aesthetic experience. However, this requires organizational members to be able to talk about their aesthetic experience, to translate that felt sense into language. I suggest this is often difficult due to aesthetic muteness, which is a significant problem, not just for research but for organizational practice in general. I use empirical data to illustrate how this aesthetic muteness is manifested in the research process as organizational members’ difficulty in approaching their experience from an aesthetic perspective, reframing from ‘feeling’ to ‘thinking’, inability to recall aesthetic experience and denial of aesthetic experience. I then speculate that aesthetic muteness might be caused by threats to harmony, efficiency and images of power and effectiveness and that the consequences of aesthetic muteness are aesthetic amnesia, a narrowed conception of organizational aesthetics and aesthetic stress.

Organizational research has long focused on the instrumental sphere with its questions of efficiency and effectiveness and in recent decades there has been interest in the moral sphere with its questions of ethics. Within the last decade there has also emerged a field that draws on the aesthetic sphere of our existence in organizations. In this review we look at the field of organizational aesthetics in terms of content and method, suggesting four broad categories of organizational aesthetics research: intellectual analysis of instrumental issues, artistic form used to look at instrumental issues, intellectual analysis of aesthetic issues, and artistic form used to look at aesthetic issues. We then suggest how organizational scholars might pursue artistic aesthetic organizational research.

Organizational research has long focused on the instrumental sphere with its questions of efficiency and effectiveness and in recent decades there has been interest in the moral sphere with its questions of ethics. Within the last decade there has also emerged a field that draws on the aesthetic sphere of our existence in organizations. In this review we look at the field of organizational aesthetics in terms of content and method, suggesting four broad categories of organizational aesthetics research: intellectual analysis of instrumental issues, artistic form used to look at instrumental issues, intellectual analysis of aesthetic issues, and artistic form used to look at aesthetic issues. We then suggest how organizational scholars might pursue artistic aesthetic organizational research. Copyright Blackwell Publishing Ltd 2005.

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The terms pertinent to it are 'feeling', 'judgement', 'sense', 'proportion', 'balance', 'appropriateness'. It is a matter of art rather than science, and is aesthetic rather than logical. (Barnard, 1938: 235) From Max Depree's Leadership is an Art (1989) to Michael Jones' Artful Leadership (2006) to Oba T'Shaka's two volumes of The Art of Leadership (1990-1991), the rhetoric that leadership is an art is alive and well. However, with a few exceptions such as Keith Grint's The Arts of Leadership (2001), the moniker 'leadership as art' is used rather indiscriminately, indicative of everything from 'skillful practice' to 'trendy title for a book'. In this special issue we offer six articles that each work with the idea of leadership as art, not as a loose rhetorical turn, but as a starting point for some rigorous and interesting thinking. Our impetus for generating this issue was curiosity about the consequence of taking the notion of 'leadership as art' seriously. How might doing so inform what we recognize as leadership? What consequences would result for the ways in which we understand the role of followers or context in leadership's enactment? What would it imply about the ways in which leaders might be developed? Why might conceptualizing 'leadership as art' be important? The six articles presented here create a surprisingly consistent argument in answer to this final question. In short, we live in a complex world, which cannot be fully understood solely by reference to scientific forms of logic and sense-making. The arts, and arts-based practices, provide different ways of both describing and relating to that complexity, thereby offering novel ways of responding to it. This possibility has been noted by a number of organizational theorists in recent years, for instance Karl Weick writes: Consider the tools of traditional logic and rationality. Those tools presume that the world is stable, knowable, and predictable. To set aside those tools is not to give up on finding a workable way to keep moving. It is only to give up one means of direction finding that is ill-suited to the unstable, the unknowable, and the unpredictable. To drop the tools of rationality is to gain access to lightness in the form of intuitions, feelings, stories, improvisation, experience, imagination, active listening, awareness in the moment, novel words, and empathy. All of