The Institutionalization of the Aesthetic: Systemic Contradiction in the Organization of Creativity

Snow, Roberta M.; Leach, Evan

doi:10.1002/(sici)1099-1735(199603)13:1<25::aid-sres38>3.3.co;2-5

Cited by 1 publication

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“…However, many scholars, specifically in NPD and innovation context, consider organizational improvisation as a behavior and also operationalize it as such. In contrast to organizational improvisation, organizational aesthetic capability focuses on the sub-processes of spontaneous act, considering how sense perceptions shape these sub-processes, and highlights ‗knowing in your gut' instead of ‗knowing in your head' (Taylor, 2003 (Snow & Leach, 1998), most of the organizational aesthetic scholars do not use the word just as synonymous to beauty, but take a broad perspective, and enrich the concept by applying German philosopher Baumgarten (1753/1954)'s definition of aesthetics that is the systematic study of sensual and affective dimension of human experience. These scholars associate aesthetics with knowledge that is created from sensory experiences (Hansen et al, 2007), often unconscious or tacit (Gagliardi, 1996), and come directly from our five senses (Taylor & Ladkin, 2009).…”

Section: Organizations' Aesthetic Capabilitymentioning

confidence: 99%

Organizational Aesthetic Capability and Firm Product and Process Innovativeness

Dogan¹,

Keskin²,

Akgün³

2016

IBR

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Taking into consideration the popularity of organizational aesthetics in organizational behavior literature, and adapting dynamic capabilities perspective, we suggest that organizational aesthetic capability is an important competence that enables organizations to cope with the environmental uncertainty. Nonetheless, organizational aesthetic capability is rarely addressed in the technology and innovation management literature. Specifically, we know little about what organizational aesthetic capability is, its ingredients and benefits, and how it works in innovation context. Addressing this particular gap in the literature, this study contributes in two ways. First, we conceptualize organizational aesthetic capability and its sub-dimensions that are alert imagination, to act and defer, awareness of dissonance, analyzing past actions, prefiguring future trajectories, preserve existing modes of operation, willingness to change direction, recognizing symbols in use, and awareness of language. Second, the theoretical framework we proposed highlights the effects of organizational aesthetic capability on product and process innovativeness.

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