Communicating your research can feel like a new discovery. Many of the researchers we meet have found that their passion to engage and to discuss their subject matter has emerged as a mainly solo pursuit, perhaps inspired by a passionate colleague, favourite television programme or an exhibition visit that occurred by chance along the way. This can leave many researchers unaware that the communication of research to others and their engagement with it has been a long-standing issue within research professions. The history of communicating research is
focused on South Africa’s exit from international competition (though I did, for political reasons, support its exclusion, while simultaneously regretting the effect of this in depriving Test cricket of supreme talents like those of Graeme Pollock and Barry Richards). My passion for the game had become more or less dormant.
It began to reawaken in the mid-1970s, first on account of Lillee and Thommo, then – decisively – with the visit to England of Clive Lloyd’s West Indians in 1976 and the Centenary Test at the MCG in March 1977. When Greg Chappell’s side toured
authority. This, after all, is why Tony Blair and Gordon Brown fought throughout Blair’s ten years in power, each seeking to exercise dominance over the other. Voltaire wrote tellingly about the source of political conflict: ‘There has never been a perfect government, because men have passions; and if they did not have passions there would be no need for government’.
How are the conflicts resolved? It all depends on the political system involved. Autocratic governments seek to repress dissent and impose settlements, irrespective of the desires and
Storytelling and organizing creativity in luxury and fashion
Pierre-Yves Donzé and Ben Wubs
and innovation, and the management of creativity. The LVMH example is especially important because it links Paris to global markets for luxury goods, the largest of which is China. 3
‘Passionate about Creativity’ is the headline that appeared on all LVMH’s annual reports from 2002 to 2010. In 2011, LVMH shortened its tagline to two short words: ‘creative passion’. 4 How can we define creativity and how is this linked to the concept of creative industries? Although this issue has not been addressed for the fashion and luxury industries, there are some works on
strategist distanced themselves from confrontational strategies:
The desire to strike at ObamaCare is praiseworthy. But any strategy to repeal, delay or replace the law must have a credible chance of succeeding or affecting broad public opinion positively. The defunding strategy doesn't … It is an ill-conceived tactic, and Republicans should reject it. (Rove, 2013 )
The sequences continued and the fuelling of passions and the dashing of hopes set the scene for a different and more radical insurgency. Trump offered a means by which Tea Party supporters could
various ‘passions’ or ‘desires’ (intense, problematic, even evil ‘internal movements’ connected with the senses) contrasting with the ‘affections’ (more gentle, intellectual, positive, and virtuous physical sensations). 3 Historically, emotions tended to be associated with the feminine, with the body, softness, passivity, reactivity, primitiveness, being out of control, as opposed to masculine reason and its associations. 4 These binaries have been fruitful for historians, alerting us to nuances in texts.
The psychologist William James famously asked ‘What is an
ripples’ in reference to the female sex drive, thereby enlivening a potentially arid subject – human biology and reproduction – with the passion and reverie of an Edwardian middlebrow novel (ML 38; 39). Dedicated to the ‘ordinary untrained reader’ (rather than medical or legal professionals, or colleagues in the sex reform movement), and written in a highly accessible and lyrical style, Married Love exhorts the ‘married’ and those ‘about to be married’ to master the art of lovemaking to achieve ‘irradiating joy’ in coital union (ML 10; 82). Married Love is ‘less a
information which connect with our emotions and feelings.’
Jilli had picked up on Nicholas’s passion to prevent extinctions and his excitement in the discovery of a species thought to be extinct. Having Nicholas narrate the film allows him to convey these feelings directly to the viewer. Jilli also wove his ideas into the animations, for example, using the imagery of the extinct Tasmanian tiger as a guide and metaphor for the problems of extinction within the film. The Tasmanian tiger happens to be a particular interest of Nicholas’s and he was delighted to see the
from feudal tenure; henceforth, any ‘discoveries in the arts’ (‘arts’ meaning technology) and ‘improvements in commerce and industry’ inevitably created ‘new elements of equality among men’ (5).
Discoveries, new needs, desires, tastes, fashions, passions, superficial or profound, ‘seem to work in concert to impoverish the rich and enrich the poor’. Tocqueville suggests here that developments in poetry, eloquence, the arts, philosophy, ‘even if they were found in the possession of its adversaries’, still served the cause of ‘the people’ by ‘putting into