Previous research on reactivity—defined as changing organizational behaviour to better conform to the criteria of measurement in response to being measured—has found significant variation in company responses toward sustainability metrics. We propose that reactivity is driven by dialogue, motivation, and capacity in a configurational way. Empirically, we use fuzzy set qualitative comparative analysis to analyze company responses to the sustainability index FTSE4Good. We find evidence of complementary and substitute effects between motivation and capacity. Based on these effects, we develop a (...) typology of reactivity to sustainability metrics, which also theorizes the use of metrics as tools for performance feedback and the building of calculative capacity. We show that when reactivity is studied configurationally, we can identify previously underacknowledged types of responses. We discuss the theoretical and practical implications for studying and using sustainability metrics as governance tools for responsible behaviour. (shrink)

For nearly as long as the topic of sustainable business has been taught and researched in business schools, proponents have warned about barriers to genuine integration in business school practices. This article examines how academic sustainability centres try to overcome barriers to integration by achieving technical, cultural and political fit with their environment :67–92; Ansari et al., Academy of Management Review 35:67–92, 2010). Based on survey and interview data, we theorise that technical, cultural and political fit are intricately related, and (...) that these interrelations involve legitimacy, resources and collaboration effects. Our findings about sustainability centres offer novel insights on integrating sustainable business education given the interrelated nature of different types of fit and misfit. We further contribute to the literature on fit by highlighting that incompatibility between strategies to achieve different types of fit may act as a source of dynamism. (shrink)

This dissertation abstract and the reflection commentary present the work of Dr. Rieneke Slager. The dissertation addresses the influence of Corporate Social Responsibility metrics on responsible corporate behavior, through a case study of a prominent metric in the Socially Responsible Investment market, namely, the FTSE4Good Index. This extended dissertation abstract introduces the research questions, theoretical framework, methods, and findings. The author’s views on successful completion of a PhD are discussed in the appendix.

This article examines the role of intermediaries in financial markets in fostering corporate sustainability. Responsible investment indices have been primarily identified as intermediaries that provide information regarding corporate social performance for investors and other stakeholders. The authors argue that the role of these intermediaries is not confined solely to information provision, but they may also incentivize high levels of CSP through mechanisms such as exclusion threats, signaling, and engagement. The authors rely on unique access to the archives of the FTSE4Good (...) Index to examine the effects of these mechanisms on CSP. The study shows that companies facing exclusion threats and signaling are more likely to comply with the intermediary’s criteria, and medium levels of engagement leads to higher levels of CSP. The authors contribute to the study of sustainability in financial markets by explicating the mechanisms that intermediaries and other financial actors could employ to foster greater corporate sustainability. (shrink)

This paper provides a summary of the symposium on the institutional and social construction of Responsible Investment (RI), held at the 22nd IABS conference. In the context of the symposium, we propose to move beyond the dominant focus on the financial impact of RI to consider the potential of emergent institutional and sociological perspectives to explain the practices and concepts related to RI. In doing so, our aim is to explore in greater detail the current changes in the RI infrastructure (...) and the impact of these changes on wider issues of corporate sustainability and social responsibility. (shrink)

This study is an archeological investigation into the historically changing relationship between words and images. The result is an encyclopedia of interpretative techniques in which language functions as a model of thought. Three periods come to the fore. In the classical one, grammatical structures are responsible for the dominance of describing and identifying activities. Thought about art departs from the idea, that classificatory systems represent images. _Art criticism_ is the form of interpretation in this period. In the modern period time (...) moves to the foreground. Now attention is focused on changes in grammatical forms instead of changes in constant structures. A hermeneutic form of interpretation comes into being: _Art History_. In the postmodern period one realizes that words fail to establish a consistent relationship with visuality. New, semiological theories of interpretation now explain what images can signify. This volume is of interest for philosophers of art and art theoreticians, as well as for students and professionals in both fields. (shrink)

Today, many visual artists are giving the cold shoulder to the static, isolated concept of visual art and searching instead for novel, dynamic connections to different image strategies. Because of that, visual art and aesthetics are both forced to reconsider their current positions and their traditional apparatus of concepts. In that process, many questions surface. To mention a few: Could the characteristics of an artistic image and its specific manner of signification be determined in a world which is entirely aesthetisized? (...) What would be the consequences of a variety of image strategies for aesthetic experience? Would it be possible to develop a form of cultural criticism by means of artistic activities in a culture awash in images? In order to answer such questions, aesthetics as a philosophy of art needs to transform its field into a critical philosophy of topical visual culture. As an impetus to such a reinterpretation of the visual working area, the L & B Series organized three symposia evenings under the title “Exploding Aesthetics”, in cooperation with De Appel Center for Contemporary Art, Amsterdam. Besides the presentations and discussions from these symposia, this volume includes various arguments, positions, and statements in both articles and interviews by a variety of visual artists, designers, advertising professionals, theorists and curators. The participants are: Mieke Bal, Annette W. Balkema, Peg Brand, Experimental Jetset, Liam Gillick, Jeanne van Heeswijk, Martin Jay, KesselsKramer, Friedrich Kittler, Maria Lind, Wim Michels, Nicholas Mirzoeff, Planet Art, Joke Robaard, Annemieke Roobeek, Remko Scha, Rob Schröder, Henk Slager, Richard Shusterman, Pauline Terreehorst, Wolfgang Welsch and Marie-Lou Witmer. (shrink)

Nowadays there are many spaces of fascination in visual art. Of course, installative space and contextual space have been on the art scene for awhile. However, they are now accompanied by other spaces such as urban space, architectural space, cyberspace, hyperspace, and screen-based space. In this volume, architects, artists, theorists, three symposia and four exhibitions attempt to find answers to questions such as: Could the architectonic study and/or deconstruction of space play a decisive role in the shift of attention to (...) space? Which theoretical factors structure the current experience and meaning of space? What is the role of the aesthetization of the environment on our concept of space? Smooth Space - VCC de Brakke Grond, Amsterdam - is a project at the heart of this publication. Spatial interests range from how the concept of space is redefined and exploited in our current visual culture to how the digital world influences our spatial concepts. Participants in this issue are: Jean Attali, Annette W. Balkema, Andrew Benjamin, Ole Bouman, Bernard Cache, Paul Crowther, Christoph Fink, Hugo Heyrman, Hou Hanru, Rem Koolhaas, Geert Lovink, Karlheinz Lüdeking, Bartomeu Mari, Kas Oosterhuis, Jan van de Pavert, Keiko Sato, Eran Schaerf, Lara Schnitger, Roger Scruton, Martin Seel, Nasrine Seraji, Henk Slager, Sjoerd Soeters, Lars Spuybroek, Ann Van Sevenant, Peter Weibel and Mark Wigley. (shrink)

Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into (...) account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions. These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade. (shrink)

In order to give an impetus to the production of an apparatus of aesthetic concepts, in line with Deleuze and Guattari’s claim to create new concepts for a changing world, this volume publishes statements and discussions of ten Concept on the Move workshops, as well as texts and discussions of the concluding Concept on the Move symposium. The integral outcome of the workshops, the symposium and the discussions does not, however, present some sort of blueprint for the future of visual (...) art and aesthetics. If one wished to designate the Concepts on the Move publication in one notion at all that definitively could only be TOOLKIT. A TOOKIT in the sense of a great collection of ideas, topics, issues, notions, and concepts emerging in the 21st-century world of visual art and theory. They indeed could serve as an impetus for the construction and production of a body of theoretical work fit to understand today’s technological, theoretical, and artistic developments in the art world. Are concepts on the move? Yes, they are, and they always will be on the great journey visual art takes them. (shrink)

In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day symposium organized (...) by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the _L&B _ series and the Amsterdam School of Cultural Analysis. Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski. (shrink)

In the current debate on art, thought on time has commanded a prominent position. Do we live in a posthistorical time? Has objective art historical time and belief in a continual progress shifted to a more subjective experience of the ephemeral? Has history fallen away and, if so, what does this mean for the future of art? How does a visual archive relate to artistic memory? This volume investigates positions, arguments and comments regarding the stated theme. Philosophers and theorists explore (...) the subject matter theoretically. Curators articulate the practice of art. The participants are: Hans Belting, Jan Bor, Peter Bürger, Bart Cassiman, Leontine Coelewij, Hubert Damisch, Arthur C. Danto, Bart De Baere, Okwui Enwezor, Kasper König, Sven Lütticken, Manifesta, Hans Ulrich Obrist, Donald Preziosi, Survival of the Past Project, Ernst Van Alphen, Kirk Varnedoe, Gianni Vattimo, and Kees Vuyk. (shrink)

This issue investigates the meaning of photographic image for contemporary art. In Malraux' dream, photography offers the ultimate guarantee for a coherent presentation of art. However, as Douglas Crimp has stated, the appearance and enhancement of photography as a form of art among other art forms disrupted the center of the art world. What does this mean for art and philosophy in our time? Various artists and theorists will delve into that question: Christian Boltanski, Benjamin H.D. Buchloh, Jean-François Chevrier, Douglas (...) Crimp, Jos de Mul, Mirjam de Zeeuw, Rineke Dijkstra, Michael Gibbs, Rodney Graham, Gerald van der Kaap, Karen Knorr, Zoe Leonard, Ken Lum, Hermann Pitz, Liza-May Post, John Roberts, Allan Sekula, Andres Serrano, Jan Simons, Beat Streuli, John M. Swinnen, Renée van de Vall, Hilde van Gelder, Hripsimé Visser, Jeff Wall, Ian Wallace and Herta Wolf. (shrink)

'Volgens de Duitse denker Carl Schmitt is zonder vijandbeeld geen politiek mogelijk,' schreven Coen Simon en Frank Meester aan Arnon Grunberg. Zij vroegen hem Het begrip politiek van Carl Schmitt (1888-1985) te lezen om na te gaan wat hij ons nu nog te zeggen heeft. Hoeveel natiestaat hebben wij nodig? Hoeveel vijanden? Waartoe dient politiek? En is een samenleving zonder oorlog en geweld mogelijk? Aan de hand van Schmitt en denkers als Walter Benjamin en Jacques Derrida probeert Grunberg antwoord te (...) geven op die vragen. 'Onze cultuur heeft de vegetarische slager voortgebracht en zal uiteindelijk ook de geweldloze oorlog produceren. Hoe die er precies uit zal zien is onduidelijk, maar Schmitts vermoeden dat die oorlog om de oorlog eens en voor altijd uit te roeien gruwelijk zal zijn lijkt me gerechtvaardigd,' aldus Grunberg. Maar ook stelt hij dat er geen rechtvaardigheid kan bestaan als het geweld wordt afgezworen. In Vriend & vijand legt Grunberg de vinger op zowel de zere plekken van de parlementaire democratie als de kritiek erop. Vrienden en vijanden van deze democratie mogen dit essay niet aan zich voorbij laten gaan"--Back cover. (shrink)

_Screen-Based Art_ Edited by Annette W. Balkema and Henk Slager Series of Philosophy of Art and Art Theory _Lier en Boog_, vol. 15, 2000 ISBN 90-420-0801-6 192 pp.