Introduction: A Thicker Epistemology?

Kotzee, Ben; Wanderer, Jeremy

doi:10.1080/05568641.2008.10510725

Cited by 5 publications

(5 citation statements)

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“…In contrast to what Geertz (1973) describes as the symbolic, multi-leveled, polysemic and situated thick description of cultural meanings, these rhetorics and rituals of the modern rational organisation portray change programmes in thin instrumental, formalistic, one-dimensional and universal terms (Foss, 2001;Kotzee & Wanderer, 2008;Waltzer, 1994;Zafirovsky, 2003). Such thin interpretations of change programs view them through a functionalist lens (Heracleous & Barrett, 2001) as unitarist, acontextual and narrowly rationalistic in character (Collins, 1998).…”

Section: Through Thin and Thickmentioning

confidence: 94%

An introduction to the 5M framework: reframing change management education

Badham¹,

Cançado

Darief³

2015

BAR, Braz. Adm. Rev.

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The purpose of this paper is to introduce a reflective and critical rhetorical framework capable of replacing traditional approaches to change management and its education. This framework conceptualises managing change as the Mindful Mobilising of Maps, Masks and Mirrors and provides a comprehensive integration of the processual, practice and critical academic literature on change management. It adopts a drama-tic approach, combining dramaturgical and pragmatic approaches to organisations and change. This paper introduces the framework, the manner of its delivery as an MBA subject, and the varying perceptions of its nature and impact held by a number of mature middle management MBA students who had attended the course. The documentation of student interpretations draws on the learning diaries completed by MBA students in two deliveries of the subject at a leading business school in Australia. It is argued that the framework provides a working model of a reflective and critical approach to change management that resonates with mature managers, and concludes with recommendations for future research and development.

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Section: Through Thin and Thickmentioning

confidence: 94%

An introduction to the 5M framework: reframing change management education

Badham¹,

Cançado

Darief³

2015

BAR, Braz. Adm. Rev.

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“…A fundamental feature of thick concepts (both ethical and epistemic) is the tied connection between their descriptive and evaluative components (Roberts 2013;Kotzee and Wanderer 2008). The disentangling argument was formulated by McDowell (1998) precisely to expose the difficulties of separating these components, and stress the irreducible thickness of thick concepts.…”

Section: Entanglementmentioning

confidence: 99%

“…That is, this paper does not aim to extol the value of creativity in general but to spell out the restricted sense in which creative instances can be epistemically worthy in concrete situations. For instance, I believe that we should refrain from identifying the epistemic value of creativity in general with the value of thin concepts, which are predominant in traditional epistemology, such as 'justification', 'knowledge' or 'true belief' (Axtell and Carter 2008;Kotzee and Wanderer 2008;Roberts 2018). Creativity, like other thick epistemic concepts, entails a sui generis form of value, attached to a novelty aspect, that needs to be characterized in its own terms.…”

Section: Introductionmentioning

confidence: 99%

Novel & worthy: creativity as a thick epistemic concept

Sánchez-Dorado

2020

Euro Jnl Phil Sci

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The standard view in current philosophy of creativity says that being creative has two requirements: being novel and being valuable (to which a third intentionality requirement is often added; Sternberg and Lubart 1999; Boden 2004; Gaut 2010). The standard view on creativity has recently become an object of critical scrutiny. Hills and Bird (2018) have specifically proposed to remove the value requirement from the definition, as it is not clear that creative objects are necessarily valuable or creative people necessarily praiseworthy. In this paper, I argue against Hills and Bird (2018), since eliminating the element of value from the explanation of creativity hinders the understanding of the role that creative products play in actual epistemic practices, which are fundamentally normative. More specifically, I argue that the terms ‘creativity’ and ‘creative’ function as thick epistemic concepts when employed by competent epistemic agents in practice, that is, these concepts have both a descriptive and an evaluative content that cannot be disentangled from one another. Accordingly, I suggest that philosophers should prefer thick accounts over thin accounts of creativity. A thick account of creativity is one that endorses the standard view at its basis, but further develops it in two ways: by stressing the entanglement of the value and novelty requirements; by permitting to encompass a range of domain-specific characterizations of such entanglement for different epistemic situations. In order to take the first steps in the development of such a thick account of creativity, I look at the domain of scientific practices as a case in point, and try to spell out what the thickness (or entanglement of novelty and worth) of creative instances typically entails here. Namely, I identify the worthy novelty of creative models and methods with their potential to clarify a tradition, with fruitfulness, and with the fulfilment of exploratory aims.

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“…Influenced by them, Bernard Williams (1985) showed that moral philosophy shouldn't neglect the thick/thin distinction. 5 In recent times, work on thickness has blossomed in ethics, as well as aesthetics and epistemology (Kotzee and Wanderer 2008;Roberts 2018). 6 I draw on these philosophers to advance a twofold argument.…”

Section: IImentioning

confidence: 99%