Monica Calcagno

Designing the Interactions in the Museum: Learning from Palazzo Strozzi

In cultural productions, and specifically in the context of museums and exhibitions, the process of construction of meanings has historically involved the audience in a relationship with the product. Nevertheless, this relationship is still designed using traditional language aimed at constraining the interpretation within the pattern suggested by the producer and reducing the room left for free interpretation by the user. Innovation, then, takes place in the offer of services and tools to support the process, and not in a proposal of a new approach to the construction of meaning. Our research discusses a case of an Italian cultural institution as a model for proposing a new approach to the process of interpretation of the relationship between the users and the product. The innovation in this case is the result of a redesign of the language offered to the users, and it is aimed at involving them in the process of sense making. Our article sheds light on the way in which innovation of language may impact the world of signs and symbols that determine the meaning of the product.

Manifattura evoluta nel radical fashion. Un percorso tra tecnologia, artigianato e networking

Obiettivi . Il lavoro discute la natura multiforme del concetto di intelligenza d’impresa, individuata nella capacita di costruire un’organizzazione morfogenetica, cioe capace di proiettare la conoscenza accumulata in percorsi di sperimentazione tecnologica, organizzativa e sociale. Metodologia . Il progetto di ricerca si focalizza sull’analisi del radical fashion e si fonda sull’integrazione di un intervento di action research e di una classica ricerca qualitativa, con l’obiettivo di sviluppare un modello di azione sostenibile per gli attori presenti nel sistema. Risultati . Lo studio delle dinamiche permette di sviluppare un’ipotesi di modello di business in cui manifattura e lead-retail si alleano in un processo di progettazione capace di mobilitare la conoscenza in soluzioni tecnologicamente efficaci e culturalmente dense. Un modello che rende accessibile anche alla PMI la manifattura evoluta. Limiti della ricerca . Sotto il profilo metodologico il modello dovra essere verificato alla luce dei risultati del progetto di action research ora nella sua fase conclusiva. Implicazioni pratiche . In uno scenario di competizione globale il mondo del made in Italy dovrebbe trovare nuovi stimoli attraverso lo sguardo alla nicchia del radical fashion quale lead market capace di trainare l’innovazione della proposta di valore e proiettarla verso il futuro. Originalita del lavoro . Il modello di produzione “guidato” dal lead retailer come percorso di manifattura evoluta non esiste ancora nella letteratura accademica.

Going back to the roots of entrepreneurship

Purpose The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension. Design/methodology/approach The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014). Research limitations/implications Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields. Originality/value The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

Going back to the roots of entrepreneurship: Empirical evidence from the practice of dance

Purpose The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension. Design/methodology/approach The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014). Research limitations/implications Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields. Originality/value The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

Going back to the roots of entrepreneurship: empirical evidences from the practice of dance

Purpose The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension. Design/methodology/approach The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014). Research limitations/implications Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields. Originality/value The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

The Artist-entrepreneur Acting as a Gatekeeper in the Realm of Art

The present paper analyses the role of artists-entrepreneurs in the contemporary society. The investigation, focused on studying these actors in their artistic and entrepreneurial activities and processes, reveals another emerging role: these professionals act as protectors of the integrity of the Art when it enters in relation with the logics of the business world. The research is conducted interviewing and observing a group of artists living the experience of founding their own cultural enterprises in the specific context of

Towards Design Thinking as a Management Practice: A Learning Experiment in Teaching Innovation

There is an increasing need to make management knowledge more consistent with the OmessinessO and complexity of actual organizational phenomena and contexts in todayOs world, calling for a refoundation of mainstream management theories. The paper focuses on the contribution of design thinking approaches in this sense, particularly addressing the question of how the predisposition for a design thinking approach can be shaped in management education. Following a qualitative inductive research design, it will report the experience of the introduction of new teaching practices inspired by design thinking in a class of students from a Master program on Innovation and Marketing in an Italian University. Based on the empirical findings, the challenges and opportunities of innovating business school teaching towards the construction of a design thinking mentality will be discussed.