Archive for the ‘culture’ Category
Well, it’s the scariest time of year. For some, the scariest stuff reaches its apotheosis on Election Day, Nov. 8, while for others, Halloween is the celebration of choice. For a sociological take on the Oct. 31st festivities, check out Sociological Images’s compendium of Halloween blog posts.
I’ve been counting down these weeks to recommend reading Margee Kerr‘s book Scream: Chilling Adventures in the Science of Fear (hat-tip to a neuroscientist friend for the rec), about the mechanisms underlying fear among humans. In her book, Kerr takes readers on a worldwide journey to investigate fear in different contexts, from a derelict prison where inmates served their time in solitary confinement to Japan’s notorious Suicide Forest.
Kerr is also a practicing sociologist who also designs and refines an experimental haunted house, ScareHouse, located in Pittsburgh. In chapter 8 of her book, she describes how people want to bond with others after being scared and how she and colleagues have channeled that intense emotional energy with an anonymous “confessional” room where people can unload secrets. Overall, Kerr’s experiences shows how sociology and related research can directly inform and shape experiences.
Now for some of our social scientists’ fear… Trigger warning !!! after the jump, courtesy of Josh de Leeuw.
I recently had the pleasure of spending a weekend in New York. I spent some of my time exploring the Bushwick neighborhood to see the cutesy shops, art galleries, and organic grocery store. I wandered into an art gallery and saw about five people sitting in a circle reading a novel. The gallery owner then greeted me and I played with her dog.
Appetite for Innovation: Creativity & Change at elBulli (To be published by Columbia University Press on July 12, 2016)
How is it possible for an organization to systematically enact changes in the larger system of which it is part? Using Ferran Adria’s iconic restaurant “elBulli” as an example of organizational creativity and radical innovation, Appetite for Innovation examines how Adria’s organization was able to systematically produce breakthroughs of knowledge within its field and, ultimately, to stabilize a new genre or paradigm in cuisine – the often called “experimental,” “molecular,” or “techno-emotional” culinary movement.
Recognized as the most influential restaurant in the world, elBulli has been at the forefront of the revolution that has inspired the gastronomic avant-garde worldwide. With a voracious appetite for innovation, year after year, Adrià and his team have broken through with new ingredients, combinations, culinary concepts and techniques that have transformed our way of understanding food and the development of creativity in haute cuisine.
Appetite for Innovation is an organizational study of the system of innovation behind Adrià’s successful organization. It reveals key mechanisms that explain the organization’s ability to continuously devise, implement and legitimate innovative ideas within its field and beyond. Based on exclusive access to meetings, observations, and interviews with renowned professionals of the contemporary gastronomic field, the book reveals how a culture for change was developed within the organization; how new communities were attracted to the organization’s work and helped to perpetuate its practice, and how the organization and its leader’s charisma and reputation were built and maintained over time. The book draws on examples from other fields, including art, science, music, theatre and literature to explore the research’s potential to inform practices of innovation and creativity in multiple kinds of organizations and industries.
The research for Appetite for Innovation was conducted when Adria’s organization was undergoing its most profound transformation, from a restaurant to a research center for innovation, “elBulli foundation”. The book, therefore, takes advantage of this unique moment in time to retrace the story of a restaurant that became a legend and to explore underlying factors that led to its reinvention in 2011 into a seemingly unparalleled organizational model.
Appetite for Innovation is primarily intended to reach and be used by academic and professionals from the fields of innovation and organizations studies. It is also directed towards a non-specialist readership interested in the topics of innovation and creativity in general. In order to engage a wider audience and show the fascinating world of chefs and the inner-workings of high-end restaurants, the book is filled with photographs of dishes, creative processes and team’s dynamics within haute cuisine kitchens and culinary labs. It also includes numerous diagrams and graphs that illustrate the practices enacted by the elBulli organization to sustain innovation, and the networks of relationships that it developed over time. Each chapter opens with an iconic recipe created by elBulli as a way of illustrating the book’s central arguments and key turning points that enable the organization to gain a strategic position within its field and become successful.
To find a detailed description of the book please go to: http://cup.columbia.edu/book/appetite-for-innovation/9780231176781
Also, Forbes.com included Appetite for Innovation in its list of 17 books recommended for “creative leaders” to read this summer: http://www.forbes.com/sites/berlinschoolofcreativeleadership/2016/05/15/17-summer-books-creative-leaders-can-read-at-the-beach/#7ac430985cef
Orgheads, take note, I am thrilled to introduce a guest post by M. Pilar Opazo, who has just published an exciting new book, Appetite for Innovation: Creativity and Change at elBulli (2016, Columbia University Press), on the much lauded, three-star Michelin restaurant elBulli.
The name elBulli is synonymous with creativity and innovation. Located in Catalonia, Spain, the three-star Michelin restaurant led the world to “molecular” or “techno-emotional” cooking and made creations, such as pine-nut marshmallows, rose-scented mozzarella, liquid olives, and melon caviar, into sensational reality. People traveled from all over the world—if they could secure a reservation during its six months of operation—to experience the wonder that chef Ferran Adrià and his team concocted in their test kitchen, never offering the same dish twice. Yet elBulli’s business model proved unsustainable. The restaurant converted to a foundation in 2011, and is working hard on its next revolution. Will elBulli continue to innovate? What must an organization do to create something new?
Appetite for Innovation is an organizational analysis of elBulli and the nature of innovation. Pilar Opazo joined elBulli’s inner circle as the restaurant transitioned from a for-profit business to its new organizational model. In this book, she compares this moment to the culture of change that first made elBulli famous, and then describes the novel forms of communication, idea mobilization, and embeddedness that continue to encourage the staff to focus and invent as a whole. She finds that the successful strategies employed by elBulli are similar to those required for innovation in art, music, business, and technology, proving the value of the elBulli model across organizations and industries.
Glowing reviews of the book and its contributions to organizational studies and our understanding of creativity, penned by organizational sociologists Walter Powell and Diane Vaughan, urban sociologist Sharon Zukin, food scholars Priscilla Ferguson and Krishnendu Ray, and others are available here.
Forbes also listed Appetite for Innovation as one of 17 books recommended for “creative leaders” to read this summer.
M. Pilar Opazo is a postdoctoral research scholar at the Columbia Business School. She is the coauthor of two Spanish-language volumes, Communications of Organizations and Negotiation: Competing or Collaborating, and her journal publications include Sociological Theory and the International Journal of Gastronomy and Food Science. For more information about Pilar, see www.mpilaropazo.com
There is a new paper in PLoS One by Daniel Silver, Monica Lee, and C. Clayton Childress about the structure of genres. They use MySpace co-mentioning data to understand which genres are mentioned together, which maps out the space of pop music in the mid-2000s. From the abstract of “Genre Complexes in Popular Music:”
Recent work in the sociology of music suggests a declining importance of genre categories. Yet other work in this research stream and in the sociology of classification argues for the continued prevalence of genres as a meaningful tool through which creators, critics and consumers focus their attention in the topology of available works. Building from work in the study of categories and categorization we examine how boundary strength and internal differentiation structure the genre pairings of some 3 million musicians and groups. Using a range of network-based and statistical techniques, we uncover three musical “complexes,” which are collectively constituted by 16 smaller genre communities. Our analysis shows that the musical universe is not monolithically organized but rather composed of multiple worlds that are differently structured—i.e., uncentered, single-centered, and multi-centered.
For Chicago-ites, this is a “hollow core” finding about musical social worlds. Recommended.
I’m in the middle of watching Unbreakable Kimmy Schmidt on Netflix. After watching it, I realized that it’s an extremely rare show that has a cast made up entirely of “subaltern” characters. Normally, you have a show made up of characters from the dominant culture. You also have shows where the cast is made up primarily from one minority or subculture (all Latino characters, or all gay characters).Kimmy is unusual in that it doesn’t seem to rely exclusively on any single cultural group and that means that is doesn’t take much for granted.
For example, you might think that the show is about white urban women, perhaps a goofy Sex in the City. That’s not quit right. Kimmy is a Midwesterner and one who was abducted from her group and isolated. So she doesn’t even feel like a normal Midwesterner any more. Mrs. Voorhees turns out to be a Native American woman who is passing as white. Titus is a gay black man who escaped from the South to New York. “Mississippi was my own bunker.” Perhaps Lydia, the elderly landlord, might be the closest thing to a “standard” character.
The romantic interests tilt the same way. Mr. Voorhees, one of only two tradition straight white men in the show, is barely seen and the other, one of Kimmy’s boyfriends, only appears in a few episodes. The other male romantic interests are also subaltern, such as the Vietnamese immigrant who is afraid of deportation and Titus’ boyfriend, who is a construction worker who just admitted he was gay.
This is not incidental to the show. The lack of a common cultural ground gives the show a chaotic feeling, which is good for comedy. It’ll be interesting to see where the show goes from here.