Contemporary Aesthetics

Special Volume 4 (2012) ARTIFICATION

2012

Everyday Aesthetics and Artification

Yuriko Saito
Rhode Island School of Design, ysaito@risd.edu

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 Everyday Aesthetics and Artification

  Yuriko Saito
About CA

Journal
Abstract
Contact CA Everyday aesthetics aims to illuminate the rich aesthetic
dimensions of our lives that have been neglected in the
Links modern Anglo-American art-centered aesthetic discourse. 
Artification, a new concept and practice, encourages us to
Submissions experience various aspects of our lives normally not associated
with art or aesthetics, such as business, education, and
Search Journal medical practice, from an artistic viewpoint.  Both discourses
are helpful in sharpening our aesthetic sensibility and enriching
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our aesthetic life.  However, precisely because the aesthetic
Search dimension of our lives exerts a considerable power in shaping
our lives and the world, we need to cultivate aesthetic literacy
and a vigilant attitude toward the use of this power.  I argue
Editorial Board against the indiscriminate and uncritical adoption of artification
by exploring the ways in which the artification strategy can
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undermine the intended purpose and the value of art in a
Privacy workaday environment and organizational practice.

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John Dewey, everyday aesthetics, function of art, the ordinary,
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1. The power of the aesthetic:  general observation

With the recent emergence of everyday aesthetics in today’s

Anglo-American aesthetic discourse,[1] there has been
increasing awareness and scrutiny of the ways in which the
quality of life and the state of the world are profoundly
affected by aesthetic factors.  Humanity’s ongoing project of
world-making has often been motivated, even determined, by
our aesthetic taste and response, sometimes consciously but
more often than not without our noticing.  The result has been
mixed.  At times the aesthetic considerations may move the
world-making project toward a more humane and just society
and a sustainable future, for example, by creating a certain
structure that is designed with care and consideration for the
people, materials and surroundings it will affect.  Other times,
our aesthetic responses work against the creation of a good
society and sustainable future.  Propagandists and advertising
agencies guide our decisions and actions, as citizens and
consumers, through various aesthetic strategies toward
achieving their often problematic agenda.  At the same time,
our seemingly innocuous everyday aesthetic taste and
preferences can lead to environmental harm, as seen in the
United States, for example, by the objection to wind turbines
and laundry hanging by presuming them to be eyesores, and
the wide-spread obsession with weed-free, green lawns that
require unsustainable cultivation and maintenance.

What is clear from these divergent results is the surprising

degree to which aesthetic considerations wield power over our
attitudes, decisions, and actions.  If aesthetics has no or very
little power to move us in a certain direction, we cannot make
sense of many societies’ treatment of aesthetics and arts,
including Confucius’ emphasis on rite and music in cultivating
appropriate behavior, Plato’s proposal for censoring certain
arts in his Republic and, more recently, Nazi Germany’s
promotion of Wagner’s music and Riefenstahl’s films.  Nor can
we appreciate Friedrich Schiller’s call for “aesthetic education”
as a complement to Kantian ethics, since he held that “the
way to the head must lie through the heart.”[2]

John Dewey made a similar point regarding the value of

experiencing art, in particular that which is foreign to us:

We understand it in the degree in which we make it a

part of our own attitudes, not just by collective
information concerning the conditions under which it
was produced.  We accomplish this result when…we
install ourselves in modes of apprehending nature that
at first are strange to us.  To some degree we become
artists ourselves as we undertake this integration, and,
by bringing it to pass, our own experience is
reoriented.  Barriers are dissolved, limiting prejudices
melt away, when we enter into the spirit of Negro or
Polynesian art.  This insensible melting is far more
efficacious than the change effected by reasoning,
because it enters directly into attitude.[3]

Among more recent examples is the growing recognition that

cultivating environmentally responsible attitudes cannot be
accomplished by environmental ethics or scientific
understanding alone; it has to be accompanied by appropriate
aesthetic values.  Aldo Leopold’s land ethic is inseparable from
a land aesthetic.[4]  In promoting a sustainable landscape,
Joan Nassauer has emphasized the importance of its aesthetic
appeal to render it “culturally sustainable.”[5]  Finally,
environmental educator, David Orr, has pointed out that “we
are moved to act more often, more consistently, and more
profoundly by the experience of beauty in all of its forms than
by intellectual arguments, abstract appeals to duty, or even by
fear.”[6]  These examples suggest that the power of the
aesthetic to influence people’s thinking and actions, for better
or worse, is quite considerable.  I hold that one mission of
everyday aesthetics is to acknowledge this power and guide it
toward better world-making.

2.  The power of the aesthetic:  application to

artification          

We can understand the newly emerging concept of

“artification,” the introduction of artistic practice and aesthetics
into areas and disciplines not usually associated with them –
as one attempt to harness the power of the aesthetic to
engage in a certain practice, thereby achieving its intended
goal more effectively.  As the essays in this special volume
indicate collectively, this strategy affects many areas of human
activity, ranging from education and science to sports and
home decoration.  I am particularly intrigued by its adoption in
workaday environments, whether it is business, industry, or
organizational operation, because for many of us the bulk of
our lives away from home takes place in such environments. 
In fact, at my home institution I am witnessing firsthand a
growing interest in promoting artistic practice in business and
organizational operations.  I find some of the applications of
artistic practices and the power of the aesthetic in the
workplace environment and operation to be promising and
encouraging, while I have deep concerns with others.  I would
like to explore some of these strategies adopted in the
workplace.

One way in which artification helps to promote a better work

environment is the increased attention to the aesthetic
dimension of its physical environment.  A good example is the
so-called green building that is not only environmentally
responsible but also fosters workers’ well-being through a
comfortable, pleasant, and humane environment, with various
sensory effects such as fresh air, natural light, and non-toxic
building materials.  Such an environment is found to promote
workers’ physical and mental health, and also to reduce
absenteeism and increase efficiency and productivity.

Aesthetic attention to the workplace is not limited to its

physical environment.  More attention is also directed toward
what one commentator calls “quotidian organization
practices.”[7]  These include the workers’ experiences and
emotions affected by the multi-sensory effects of the physical
environment, the nature of human interactions, and the
rhythm and movement of production.  These constitute “the
ordinary” or “the subjective” of organizational life, and have
been generally neglected in the conventional organizational
study that analyzes “objective” factors such as structure,
policy, and statistics.  Furthermore, workers’ ordinary
workaday experiences tend to be eclipsed by the more
standout events, such as the change of a top executive or
notable business successes and failures.  Thus, one
commentator notes that the recent trend in organizational
studies “turns away from commodifying elite heroics… and
becomes concerned with exploring and representing the
extraordinary qualities of the ordinary.”[8]

In my work on everyday aesthetics, I emphasize the

importance of exploring the ordinary aspects of our lives, not
only to enrich and diversify the aesthetic discourse but also to
acknowledge their serious implications on the quality of life and
the state of the world and its future.[9]  The power of the
aesthetic is such that, whether we notice it or not, and
whether we like it or not, we are constantly affected by the
aesthetic dimension of the environment and life.[10]  Insofar
as we are sensuous creatures, we cannot but be affected by
the aesthetic, which often leads us to certain attitudes and
guides our action.  In turn, this affects our collective and
cumulative contribution to humanity’s ongoing project of
world-making, for better or worse.

The first step in steering our contribution to the world-making

project toward a better quality of life and a better future is to
highlight the way in which we are all affected by the seldom-
noticed aesthetic dimension of our everyday life, including our
working life.  I therefore welcome this increased attention to
the aesthetic dimension of our working life and environment,
which has a serious impact on the quality of an organization
and its products and operation, as well as on its members’
lives. 

However, the attention paid to the power of the aesthetic in a

workplace is not limited to its environment or what is
considered its everyday activity.  Perhaps more importantly,
and in my mind problematically, the artification strategy also
includes promotion of a new way of thinking and doing that
breaks away from the traditional modus operandi based on
linear and goal-directed planning, controlled order, stability,
continuity, rationality, measurability, and predictability. 
According to the artification advocates, the conventional mode
is obsolete in today’s changing world due to globalization,
technological advancement, increasing market force,
unpredictability, and the lightening speed of electronic
transaction. 

The supporters of artification believe that in order to keep up

with this accelerated pace of change and still succeed, we need
a new way of thinking and operating.  They claim that rather
than conducting business as usual, with incremental
modifications, what we need today is something radically
different that promotes creativity, imagination, spontaneity,
inspiration, passion, improvisation, experimentation, and
constant innovation.[11]  They believe that the best
practitioners of this new way of thinking and doing are artists,
and that it behooves today’s businesses and organizations to
incorporate artistic skills and practices through programs such
as artist-in-residence, member participation in art-making,
communal experience of art, and artist collaboration on
projects.  That this strategy is based upon the understanding
and appreciation of the power of the aesthetic is clear from
the statement that “theory…does not touch people.”[12]

Various advocates of organization artification agree that by

involving art in the organization life, the following benefits are
expected:  (1) discovering one’s inner voice,
(2) sharpening one’s perceptive power, and (3) provoking and
inspiring creative and imaginative ideas.  Let me critically
examine each one of these expected benefits.

3. Discovering one’s inner voice

One of the presumed benefits of experiencing art, whether as

a receiver or as a participant, is that we get in touch with our
deeper self and find our own voice.  The conventional wisdom
in a workplace is that we keep such deep personal feelings in
check and conduct ourselves in a “professional” manner. 
However, a part of the transformation of workplace operation
encouraged by artification is that we experiment with modes
that have not been tried before, including reaching deep into
our emotional well and taking stock of our personal self, even
in the workplace.  For this purpose, experiencing art in various
forms is considered to be the best means.  A beautiful piece of
music moves us, and poetry, journal writing, and photography
also stimulate a part of ourselves that is not normally
engaged, particularly in the work environment.[13]  The
benefits here are variously described as “getting in touch with
yourself,” “inner transformation,” or finding one’s “own unique
voice.”[14]  There is a particular appeal of “treating everybody
as creative individuals” because “every human being can in
some way be awakened to become an artist.”[15]

While I do not deny the value of self-discovery through

engaging in art, I find the predominant emphasis placed on it
to be problematic.  If art does help with self-discovery, it
should also facilitate expansion and transcendence of one’s
own horizon.  Here I am invoking John Dewey’s view that “the
moral function of art” is “to remove prejudice, do away with
the scales that keep the eye from seeing, tear away the veils
due to wont and custom, perfect the power to perceive.”[16] 
In other words, “works of art are means by which we enter,
through imagination and the emotions they evoke, into other
forms of relationship and participation than our own.”  In light
of this function of art, the creative industry advocates’ primary
focus on self-discovery through art may exacerbate a
tendency toward self-absorption that (good) art can and
should help us overcome.   Furthermore, while respecting the
artistic expression of each person’s unique voice may have a
democratic appeal, one commentator on arts in business warns
of the danger in viewing anything as art, resulting in the
“banalization” or “death of art,” whereby “everything becomes
a matter of personal taste and we end up with a degenerative
idea of art as a question of the utmost
subjectivity.”[17]           

At its worst, such a view can be downright dangerous when

applied to cultivating leadership skills.  Consider the following
claim by an advocate who encourages artification strategy for
leadership:

All true leadership starts with coming home to oneself.

… Do not simply listen, read, and repeat what others
say.  Grant your own perceptions, ideas, images,
feelings, and dreams the same respect that you give to
the world’s most respected leaders.  True leaders,
whether in the arts, business, government, science, or
the military, view the world through their own eyes,
their own values, and their own dreams.[18]

The rejection of simply following or conforming does not

necessarily imply the rejection of listening to others and
engaging in dialogue with them.  The artification advocates’
focus on self-discovery without the accompanying emphasis on
expanding one’s horizon is problematic because it can lead to
unreflected and unqualified self-aggrandizement.  Applied to
leadership, I find this to be a particularly worrisome prospect. 

My concern here is akin to the problem I have in education

where a premium is placed on students’ expression of their
own voice.  Whether in writing, creating visual arts, or
composing music, undue emphasis on subjective expression
can compromise the upholding of standards.  An implied fear
of discouraging spontaneity and each student’s genuine voice
is that it will thwart individual growth and tacitly endorse a
kind of artistic tyranny that stipulates a uniform artistic
standard.  Although there is much value in rebelling against
artistic tyranny, artistic anarchy or laissez faire art, where
anything goes, is also not desirable.  In this regard, I find the
artification advocates’ emphasis on finding one’s voice through
participating in art experience in a work environment to be
problematic unless it also recognizes a corollary importance on
expanding one’s horizon and engaging in self-critique.

4.  Sharpening one’s perception            

The second benefit of art, according to the advocates of arts in

business, is sharpening one’s perception.  Art teaches us to
really see what’s in front of us without relying on preconceived
ideas about the object.  This way of seeing, American writer
Annie Dillard stated, is challenging and requires “unpeach(ing)
the peach.”[19]  Zen-inspired arts also promote this way of
seeing the world “without the burden of self.”[20]  Similarly,
although induced by mescaline, Aldous Huxley described the
intensity of artistically experiencing things in Doors of
Perception:  “What the rest of us see only under the influence
of mescaline, the artist is congenitally equipped to see all the
time.  His perception is not limited to what is biologically or
socially useful. … It is a knowledge of the intrinsic significance
of every existent.”[21]  Artification strategy fully recognizes
and utilizes art’s power for sharpening one’s perception.[22] 
Referring to the participants in photography sessions who
testified that their visual experience became fuller, enriched,
and more intense, one commentator remarked that “when life
is full of activity and information, we tend to switch on the
‘automatic pilot,’ which means that we do not really take in the
world with our senses.  Life becomes dull, but actually it is not
life that is to blame, but rather our outlook on life that is
poor.”[23]          

Such sharpening of the senses can lead to some tangible

benefits, as indicated by improved diagnostic skills among
medical students.[24]  However, advocates of arts in industry
go further by encouraging us to adopt the “I-want-to-just-
experience-life-to-the-maximum mindset.”  Particularly
because “in an office environment, experiencing life to the
maximum is not always easy,” they recommend bringing “the
same intensity (of experiencing art) in one’s job.”[25]           

I maintain that one of the missions of everyday aesthetics is

indeed to sharpen our sensibility so that we don’t miss what
Herman Hesse called “little joys.”[26]  We need to wake up
and smell the coffee and the roses.  The potential for aesthetic
pleasure and artistic inspiration in the ordinary and mundane,
or “familiar,” to borrow Arto Haapala’s term, is generally
overlooked.   Experiencing “the familiar” as if it were art
renders it “strange,” which can create “a basis for sensitive
aesthetic appreciation.”[27]  Referring specifically to
organizational life, another commentator made a similar
observation:  “The ordinary… is easily strange enough” but it is
eclipsed by “the atypical” which “can fend for itself,” so we
need to make an extra effort to illuminate “the ordinary” to
make it “strange” or “atypical.”[28]  I have no doubt that such
an artistic attention will enliven one’s work life and
environment.  There is a lot to be gained by illuminating the
ordinarily neglected, for gem-like, aesthetic potentials hidden
behind the trivial, mundane, and commonplace façade that
dominates our work life and environment.           

However, I also see several problems with maximizing such an

artified life.  First, can we really sustain the intensity of
“experiencing life to the maximum?”  Dillard, Zen
practitioners, and others who recommend cultivating such
artistic perception do not necessarily advocate adopting this
mode of sensing all the time.  It is not clear how this intense
art-like experience can co-exist with the practical matters at
hand if the former is to dominate our work life.  One can have
a fascinating art-like experience of a paper clip, for example,
but a report needs to be written and the desk top needs to be
organized, even in an artified work environment.  Huxley
indeed worried that “if one always saw like this, one would
never want to do anything else” and “this participation in the
manifest glory of things left no room… for the ordinary, the
necessary concerns of human existence, above all for concerns
involving persons.”[29]          

Second, even if it is possible for every aspect of our life to

become art-like, the potency of “strangeness” that artistic
vision entails would become diluted.  Or, put differently, if our
life becomes a continuous series of “an experience,” in
Dewey’s sense, can we even make sense of the notion of “an
experience?”  While increasing the occasions for having “an
experience” may enrich our lives, this notion has significance
precisely because it stands out against the background of the
humdrum.  Dewey’s characterization of the humdrum is rather
negative, just as artification advocates describe a typical, un-
artified working life as mechanical and dehydrated.   However,
it is not clear whether Dewey would advocate turning every
humdrum aspect of our lives into “an experience.”
Indiscriminately increasing art-like experience will end up
diluting the very intensity and specialness we seek.  Instead, I
think what needs to be pursued is a balance between such
intense experience and the mundane.           

What about the artification advocates’ recommendation of

experiencing “what you do in your everyday life as an art
form?”[30]  I believe that an event, activity, opinion, and the
like, that make up our working life will function differently if
they are considered a part of art.  Consider Friedrich
Nietzsche’s view on creating a work of art out of life.  For him,
one can fashion one’s self and life as a work of art by
affirming every ingredient as contributing to an artistic whole,
similar to the way in which a tragic event is necessary for a
Greek tragedy or dissonance for classical music.  That is, “even
the ugly and disharmonic are part of an artistic game” and “it
is only as an aesthetic phenomenon that existence and the
world are eternally justified.”[31]  If successful, every
contingency in life will be considered an inevitable and
necessary part of an artistic whole:

…whatever it is, bad weather or good, the loss of a

friend, sickness, slander, the failure of some letter to
arrive, the spraining of an ankle, a glance into a shop, a
counter-argument, the opening of a book, a dream, a
fraud --  either immediately or very soon after it proves
to be something that “must not be missing.”[32]

The same artistic justification underlies what he called “a great

and rare art”:  “to ‘give style’ to one’s character,” which is
“practiced by one who surveys everything his nature offers in
the way of weaknesses and strengths, and then fits it into an
artistic plan until each element appears as artistic and
reasonable and even the weaknesses delight the
eye.”[33]           

We find a similar strategy in the wabi aesthetics associated

with the Japanese art of tea ceremony.  Wabi aesthetics
celebrates normally depreciated qualities, such as
imperfection, incompleteness, obscurity, and insufficiency, that
are found in things like falling cherry blossoms, clouds that
obscure a moon, fraying silk, and a cracked tea bowl.  Tea
ceremony embodies this attitude with its use of broken tea
ware, minimum and rustic décor, and meager amounts of
food.  But this aesthetics also goes further by rendering the
difficulties in life easier to accept.  In fact, this aesthetic
justification of life’s imperfections was quite consciously
utilized for political purposes, first for maintaining the feudal
system based upon class hierarchy and, more recently, for
justifying the citizens’ hardships during WW II and the
glorification of Kamikaze pilots as falling cherry
blossoms.[34]           

Thus, the adoption of artification strategies, whether for

personal, societal, or organizational purposes, without first
examining their implications can have problematic
consequences.  That is, an unexamined and indiscriminate
artification program implies that every aspect of life, self,
organization, and society becomes justified by its contribution
to the artified whole, and such aesthetic judgments would take
precedence over other judgments, whether moral, social, or
political.  Some of life's contingencies are beyond our control,
such as illness and accidents that befall us, and an aesthetic
justification as a coping mechanism may be effective and
prudent.  However, other hardships in life are caused by social
ills, injustices, our character flaws and careless mistakes.  If
we consider them as ingredients of an artified whole, we may
come to conclude that they need to be kept for an artistic
effect, such as contrast or incongruity.  Thus, while artification
may not necessarily lead to maintenance of the status quo of a
society, organization, or individual, there is no guarantee that
artification will lead to improvement.  Artistic considerations do
not always lead to the judgment that social ills, organizational
problems, and personal shortcomings need to be addressed
and overcome.  Such a judgment must come from moral,
social, and political considerations.           

Earlier I mentioned that one of the missions of everyday

aesthetics is to excavate hidden aesthetic gems in our
everyday life. Our activities at home and at work can be
experienced as such gems, bathed in shiny luminescence, with
all bumps and warts transformed into positive qualities. Art is
particularly helpful in directing our attention and appreciation
to those gems that we normally neglect or even depreciate. 
However, another equally or perhaps more important mission
of everyday aesthetics is to develop aesthetic literacy and
vigilance toward the way in which the power of the aesthetic is
used to promote a certain agenda or lead to a certain
consequence.  Sometimes we need to make a judgment that
an artification strategy is neither appropriate nor desirable, but
such judgments do not seem to be forthcoming from within an
artified discourse.         

In this regard, consider the artification strategy of modeling

organizational practice as jazz improvisation.  Its advocate
explains that “jazz is an expressive art form that encourages
players to explore the edge of the unknown, and if
improvisation legitimizes risk taking, it is inevitable that there
will be discrepancies, miscues and ‘mistakes,’” but “rather than
engaging in fault finding or holding one another responsible for
inevitable errors that happen when one is experimenting on
the edge of one’s familiarity, each player is committed to
sustaining the ongoing dialogue.”[35]  In short, “errors are
often integrated into the musical landscape.”  This collaborative
team work is precisely one of the primary reasons for
incorporating performance arts as an artification practice. 

Proponents further claim that artifying organizational

operations affords all participants a safe zone in which to
explore their feelings and express ideas, “giv(ing) them
permission” to experiment.[36]  By not having to deal with
reality as is but rather as an artistic phenomenon, participants
can “minimize the fear of failure” because “if you do the real
thing here it is a high-stake, high-risk environment and what
art can offer to us is to do the same thing but in a safer
environment.”  If a meeting is regarded as an improvised
theater production, then it attains a sense of playfulness and,
as actors, we are relieved from direct interaction with others
on a real issue and the whole exercise “does not call forth our
defenses.”[37]                

However, I don’t think that what works effectively in creating

an artistic performance is readily transferable to real life
affairs.  That is, in an organizational operation, shouldn’t we
acknowledge an error as an error, hold those who are
responsible accountable, and devise ways to prevent future
errors?  It is true that an error in business and organization
should provide food for thought for subsequent practices, but
this is different from an artified vision in which the error is not
acknowledged and treated as such but rather is viewed as part
of an artistically creative process.

5.  Inspiring creative and imaginative ideas

These observations about the possible problems of artifying

organizational life relate to the third benefit of artification in
business:  art’s power to provoke and inspire creative and
imaginative ideas.  Oftentimes art is credited with challenging
the status quo and providing a new vision; this is precisely the
reason why art is introduced into industry.  As one advocate
claims, “arts can be revolutionary when taking on the role of
questioning our daily life and the status quo of society” and
the role of art is “primarily one of provocation,…to stir the
organization and keep the innovative spirit alive.”[38]          

I agree that one of the important functions of art is to provoke

thoughts and inspire people to engage in collective reflection. 
However, this provocative function of art is premised on the
existence of a critical discourse supported by the artworld
practice.  Consider recent works of art that challenge the
traditional boundary between art and life.  Examples include
environmental art in the form of activism, like tree planting
and cleaning up the river, as well as what some critics call
“relational aesthetics,” such as Rirkrit Tiravanija’s making and
serving curry and Liam Gillick’s setting up a space for
conversation in a gallery or museum setting.[39]  While not
different from non-art tree planting or eating curry, these
activities are situated in what Arthur Danto calls “an
atmosphere of artistic theory, a knowledge of the history of
art:  an artworld.”[40]  As such, these works of art cannot but
make an artistic statement that is subject to a critical
discourse, even when the artist’s intention is to get his or her
work away from the conventions of the artworld.  However,
insofar as the provocative elements of these art works are
derived from their artistic statements, which are possible only
in a context of the artworld, it does not seem possible for the
artified practice in an organization to be provocative or
inspiring in the same way.           

Controversy over art sometimes spills beyond the boundary of

the artworld and generates a public debate.  I don’t think
anybody will deny the value of critical discourse and a public
forum in which to collectively discuss Damien Hirst’s sliced up
cow, Chris Ofili’s The Holy Virgin Mary, Andres Serrano’s Piss
Christ, Richard Serra’s Tilted Arc, or Alba, a glow-in-the-dark
bunny born of genetic engineering.  People often complain
about the closed and elitist nature of today’s artworld, where it
is very difficult for an amateur artist with no established track
record to get his or her artwork christened as art. 
Furthermore, the audience is often alienated from
understanding and appreciating many contemporary art
objects unless they are familiar with today’s artworld
language.  However, despite this possibly closed and elitist
tendency, the artworld is open in the sense of providing a
public discourse where questions can be raised about a work
of art and interpretations can be debated.           

In comparison, an artified organization is open in the sense

that nobody has to be a professional artist or a member of the
artworld to participate in its creation, production, and
appreciation.  However, an artified operation takes place in a
kind of hermetically sealed context experienced only internally,
within the organization, and without an overall umbrella
consisting of general public, artworld, and critical discourse. 
Thus, in the most crucial sense, artified practice in an
organization is closed because the end product of the artistic
process is not subjected to public assessment or critical
interpretations; rather, its value will be gauged only by its
contribution to the organization’s success.           

One may respond that even if it stays internal to the company,

artification promotes freer discussion and experimentation. 
Indeed, the greatest benefit of artifying discussion may be that
it will give rise to new, creative, and imaginative ideas that
have not been thought of before and would not have been
arrived at without the promotion of artistic license.  However, I
am concerned about the possibility of an artified discussion
compromising a genuine disagreement or debate, a conflict of
ideas, a questioning of each other or, more importantly,
challenges to fundamental assumptions and beliefs.  At an old-
fashioned meeting, I, as a member of an organization, can
raise my concerns about the direction of the institution or the
quality of its services and products in a straightforward way,
which can then be debated.  Of course, I may fail to persuade
others to agree with me, but at least I have an opportunity to
engage others in a debate.  Does the same possibility exist if
the whole exchange is regarded as an art production, such as
an improvised theater or jazz performance?  My dissenting
opinion will then be a part of art, perhaps even an
indispensable part, but it is not clear to me whether in that
context my opinion will be acknowledged and responded to as
genuine dissent.           

One artification advocate characterizes “good artists” as “fifty

to a hundred years ahead of their time” and “they describe
what lies over the horizon in our future world…The artist…
must…depict this new world before all the evidence is in.  They
must rely on the embracing abilities of their imagination to
intuit and describe what is as yet a germinating seed in their
present time.”[41]  Now imagine a genetic engineering
company that is producing a genetically modified crop like
vitamin A-rich golden rice, or strawberries with arctic jellyfish
genes to prevent freezing. Artified practice in this company
may inspire a more imaginative way of producing products, a
new line of genetically modified organisms, a heretofore
unimagined use of this technology, or an innovative marketing
strategy.  However, what the artified practice in this company
is discouraged from doing is raising questions about the whole
enterprise of genetic engineering and marketing genetically
modified crops, or imagining a world without the enterprising
technology of genetic engineering.  The provocative function of
art that artified practice seeks to appropriate thus actually
loses its power as soon as it becomes subsumed under the
organizational goal, whatever that goal may be.          

It is not my intention here to debate the pros and cons of

genetic engineering.  It may very well be the case that this
company’s genetic engineering project is motivated by and in
fact serves a humanitarian goal.  Artification advocates stress
that twenty-first century enterprise must strive for
compassionate capitalism, socially responsible industry,
business with heart, and global corporate citizenship to dispel
the stereotype that “business is a monster and business
people are evil.”[42]  However, in order for business to
contribute toward better world-making, it has to survive in the
first place by maximizing its productivity, innovation, profit,
and that “magic ingredient” that gives the company
“competitive advantage.”[43]  If it goes out of business
because it loses to other companies in the global competition,
it cannot participate in the project of better world-making.
Thus, art in this company cannot challenge the raison d’etre of
the company, its goal, or the whole industry.  In such a
context, the provocative value of artified practice resides only
in raising questions about the existing business strategy and
providing a possible new way of conducting business.  The
challenge of artified practice is limited to the means of
achieving an end, not the end itself.           

In contrast, artists working within the artworld are free to

raise fundamental questions through their works.  For every
artist whose works endorse and celebrate unbridled capitalism
or praise the brave new world of technotopia, there is another
artist who challenges it.  The point is that that is the choice
each artist can make.  Such freedom is not granted in artified
organizations.[44]           

Furthermore, the public gains by engaging in a debate

regarding controversial art.  Whatever the artist’s intention
behind creating Alba may be, it does put a spotlight on the
nature and value of genetic engineering.  The same with
Damien Hirst’s sliced cow, which, among other things, forces
the society to reflect upon its attitude toward animals and our
relationship to them.  Ofili’s The Holy Virgin Mary and
Serrano’s Piss Christ challenge us to think about the nature of
religiosity and sacredness.  Serra’s Tilted Arc makes us
question the nature of public art and the extent of the public’s
say in its fate.  Whether regarding science and technology,
animal rights, religiosity, or the value of art itself, the
controversy generated by these art works inspires and
provokes people to reflect upon these issues, regardless of
their familiarity with the artworld’s convention and
vocabulary.  This provocative value of art differs from the
presumed provocative value of artified practice in business and
industry because the latter is closed to public scrutiny,
reflection, or challenge.          

While part of the attraction of conceiving the whole

organizational operation as art is the sense of safety felt by its
participants in expressing their ideas, ironically that freedom
ends up sacrificing the opportunity to pursue and explore
various possibilities by working through disagreements and
differing views.  One advocate’s own warning against using
artification to “stir the pot” is telling in this regard:

Artistic processes are powerful beyond measure, which

is good, of course, but they also make people think and
feel, which is both good and bad, because if the
business is a “flatland” business without real purpose or
the organization is highly political…these features are
illuminated through the sharp lights of the arts –
because basically the arts disturb, provoke and mirror
behavior.  The result of “stirring the pot” in an
unhealthy organization is often that the people who stay
become cynical and the others (the best) leave the
organization, because people who think and feel do not
put up with bad organization.  A highly political or
unethical corporation will be wise to stay away from the
arts – or use it only for entertainment and
decoration.[45]

In fact, some critics characterize this possibly insidious

implication of artifying business as an anesthetizing effect by
pointing out that

The creation of an aesthetic is always directed to the

shared language of a community (however defined),
and the intention is to manipulate the signifiers to such
an extent that the possibility of responding other than in
the desired ways is minimized.  At best, it aims at the
suspension of disbelief, at worst we could say that we
are told what to think.  Success in such manipulation is,
as always, a function of the exercise of power.  The
extent to which the process is successful, to which we
accept the created aesthetic as a definition of the
appropriate response to (an) organization is also the
extent to which we abdicate or deny our own ability to
formulate a response.  Acceptance, intentional or
unintentional, means that, as individuals, we accept
anaesthetization.[46]

If they are correct in characterizing the artification strategy as

having an anaesthetizing effect, then it is contrary to the
provocative function of art that artification advocates are
trying to utilize.        

Looked at this way, what is touted as transformative,

inspirational, and radically different turns out to be a further
enhancement of the status quo.  In this context, art loses what
it does best, the reason for adopting art in business in the first
place.  One advocate states that “for most of the twentieth
century, managers stressed conformity, not unique perception,
appreciation, or vision”[47] and that is one of the primary
reasons for artifying business.  However, as I have tried to
show, on the most fundamental level artifying business ends
up enhancing this conformist attitude.

6. Concluding remarks           

Thus, as long as artification strategy in organization invokes

the notion of art, we are confronted with two possibilities.  One
possibility is for the artworld model to be transferred to
organizational practice so that the artified results also get
subjected to critical discourse and public debate.  But this is
unlikely.  Most often, particularly under a capitalist economy,
the industry’s purpose in using art is to promote successful
business, not to enliven the artworld or encourage public
discussion on art.  Without such a critical discourse,
the very value of challenging the status quo and raising
fundamental questions, that which art does best, gets
compromised.          

The other possibility is to go in the other direction by

expanding the arts-in-business model so it seeps into the
artworld practice. However, this would lead to the demise of
existing art discourse consisting of interpretation, criticism,
and evaluation, and ultimately compromise the artist’s role as
a provocateur.  Thus, insofar as artification applies to
organizational operation, while something may be gained by
making the boundary between art and work life porous, I
believe there is also a price paid by both art and business. 

Yuriko Saito
ysaito@risd.edu

Yuriko Saito is Professor of Philosophy at the Rhode Island

School of Design, Providence, USA.  She works in the areas of
everyday aesthetics, environmental aesthetics, and Japanese
aesthetics and is the author of the recently published book,
Everyday Aesthetics.   

Published on April 5, 2012.     

Endnotes

[1] Historically, everyday objects and activities were routinely

discussed in the Western philosophical tradition, not to
mention many non-Western traditions.  One could claim that it
is a very peculiar development of twentieth century Anglo-
American aesthetics, which is focused almost exclusively on
art.  Only against this background can we characterize recent
works on everyday aesthetics as “recently emerging.”  I owe
this point to Ossi Naukkarinen.

[2] Friedrich Schiller, On the Aesthetic Education of Man,

trans. Reginald Snell (New York:  Frederick Ungar Publishing
Co., 1977), p. 50.

[3] John Dewey, Art as Experience (New York:  Capricorn

Books, 1958), p. 334, all emphases added.
[4] Aldo Leopold, A Sand County Almanac (New York: 
Ballantine Books, 1977).  Part IV, where Leopold develops his
land ethic, ends with a section on conservation aesthetic.

[5] Joan Iverson Nassauer, “Cultural Sustainability:  Aligning

Aesthetics with Ecology,” in Placing Nature: Culture and
Landscape Ecology, ed. Joan Iverson Nassauer (Washington D.
C.:  Island Press, 1997), pp. 67-83.

[6] David Orr, The Nature of Design:  Ecology, Culture, and

Human Intention (Oxford:  Oxford University Press, 2002), pp.
178-9, emphasis added.

[7] Antonio Strati, “The Aesthetic Approach in Organization

Studies,” in The Aesthetics of Organization, eds. Stephen
Linstead & Heather Höpfl (London:  SAGE Publications, 2000),
pp. 13-34; ref. on p. 16.

[8] David Silverman citing P. Jeffcutt in “Routine Pleasures: 

The Aesthetics of the Mundane,” in The Aesthetics of
Organization, pp. 130-153; ref. on 130, emphasis added.

[9] Yuriko Saito, Everyday Aesthetics (Oxford:  Oxford

University Press, 2007).

[10] The classic work on this point is Dewey’s Art as

Experience.  Contemporary discussion of this idea can be
found in Katya Mandoki’s Everyday Aesthetics:  Prosaics, the
Play of Culture and Social Identities (Aldershot:  Ashgate
Publishing Limited, 2007).  By far the most extended and
sustained development of this point is Arnold Berleant’s oeuvre
spanning four decades, starting with the notions of aesthetic
field and aesthetic engagement, and which developed into
environmental aesthetics, which was then further developed to
encompass every aspect of human life by establishing a new
field of social aesthetics, as well as the aesthetic dimensions
and implications of politics.  His most recent work is Sensibility
and Sense:  The Aesthetic Transformation of the Human World
(Exeter, UK: Imprint Academic, 2010).

[11] The contrast between the traditional and new modes of

thinking and operating is consolidated from discussions by
Lotte Darsø, Artful Creation:  Learning-Tales of Arts-in-
Business (Frederiksberg, Denmark: samfundslitteratur, 2004);
The Aesthetics of Organization; Nancy J. Adler, “Going Beyond
the Dehydrated Language of Management: Leadership
Insight,” Journal of Business Strategy, 31, 4 (2010), pp. 90-
99; and Nancy J. Adler, “The Arts & Leadership: Now That We
Can Do Anything, What Will We Do?,” Academy of
Management Learning and Education Journal, 5,4 (2006), pp.
486-499.

[12] Darsø, p. 63, emphasis added.

[13] Darsø provides case studies of incorporating these art

practices in industry and organization in Chapter 4 of her Artful
Creation.

[14] Darsø,  p. 63, p. 31, and Adler, “Going Beyond,” p. 5.

[15] Darsø,  p. 112 and p. 98.

[16] Dewey, Art as Experience, p. 325.  The next passage is

from p. 333.

[17] Pierre Guillet de Monthoux, “The Art Management of

Aesthetic Organizing,” in The Aesthetics of Organization, pp.
35-60; ref. p. 58.

[18] Adler, “Going Beyond,” p. 93.

[19] Annie Dillard, “Seeing” in Environmental Ethics: 

Divergence and Convergence, eds. Richard G. Botzler and
Susan J. Armstrong (New York:  McGraw-Hill, 1998), pp. 114-
121; ref. on p. 119.

[20] Writing in the early 13th century, a Japanese Zen priest

Dōgen defines enlightenment as follows:  “Acting on and
witnessing myriad things with the burden of oneself is
‘delusion.’  Acting on and witnessing oneself in the advent of
myriad things is enlightenment.” Dōgen, Shōbōgenzō: Zen
Essays by Dōgen, trans. Thomas Cleary (Honolulu:  University
of Hawaii Press, 1986), p. 32.

[21] Aldous Huxley, The Doors of Perception (New York: 

Harper & Row, Publishers, 1954), p. 33.

[22] This can be compared to phenomenology’s emphasis on

experiencing “the things themselves.”  I thank Ossi
Naukkarinen for pointing out this similarity.

[23] Darsø, p. 120.

[24] Adler, “The Arts & Leadership,” p. 495.

[25] Darsø,  p. 14.

[26] Herman Hesse, “On Little Joys,” My Belief:  Essays on Life

and Art, trans. Denver Lindley (New York:  Farrar, Straus, and
Giroux, 1974), pp. 7-10; ref. on p.  9.

[27] Arto Haapala, “On the Aesthetics of the Everyday: 

Familiarity, Strangeness, and the Meaning of Place” in The
Aesthetics of Everyday Life, eds. Andrew Light and Jonathan
M. Smith (New York:  Columbia University Press, 2005), pp.
39-55; ref. on p. 50.

[28] Silverman citing R. Winder and N. Baker in “Routine

Pleasures,” p. 137.

[29] Huxley, pp. 34-5.

[30] Darsø, p. 63.

[31] Friedrich Nietzsche, The Birth of Tragedy, trans. and ed.

Walter Kaufmann in Basic Writings of Nietzsche (New York,
New York:  The Modern Library, 1968), p. 141 and p. 52.

[32] Friedrich Nietzsche, The Gay Science, trans. Walter

Kaufmann (New York:  Vintage Books, 1974), p. 224,
emphasis added.

[33] Nietzsche, Gay Science, p. 232, emphasis added.  

[34] I explored wabi aesthetics of the tea ceremony and its

political implication in “The Japanese Aesthetics of
Imperfection and Insufficiency,” The Journal of Aesthetics and
Art Criticism 55:4 (1997), 377-85, as well as in Everyday
Aesthetics, pp. 192-8.  For the political significance of falling
cherry blossoms during WW II, see Emiko Ohnuki-Tierney’s
Kamikaze, Cherry Blossoms, and Nationalisms:  The
Militarization of Aesthetics in Japanese History (Chicago:  The
University of Chicago Press, 2002).

[35]Frank J. Barrett, “Cultivating an Aesthetic of Unfolding: 

Jazz Improvisation as a Self-Organizing System,” in The
Aesthetics of Organization, pp. 228-245; ref. on p. 239 and p.
242.  The next passage is from p. 239.

[36] Darsø, p. 181.  The following passages are from p. 153.

[37] Darsø cites Judy Sorcum Brown on p. 151.

[38] Ibid., p. 29 and p. 74.

[39] I thank my student, Raine Vasquez, for the reference to

Liam Gillick.

[40] Arthur Danto, “The Artworld,” in Philosophy Looks at the

Arts, ed. Joseph Margolis (Philadelphia:  Temple University
Press, 1978), pp. 132-144; ref. on p. 140.

[41] Adler, “The Arts & Leadership,” p. 491.

[42] Darsø, p. 182.  Other terms are rephrased from ideas

scattered throughout Darsø’s Artful Creation and Adler’s “The
Arts & Leadership” and “Going Beyond.”

[43] Ibid., p. 183.

[44] One could claim that artists, insofar as being engaged in

art-making, are not raising the fundamental question about
the very existence and importance of art-making.  I am not
sure whether the situation is equivalent to raising the
fundamental question in artified business.  It seems that many
contemporary artists have raised the fundamental question
about the raison d’etre of art and artworld in their work,
though the irony is that whatever artistic statements they
make (against art and the artworld) cannot but be subsumed
under the artworld context.  However, artists do have the
freedom to question the status quo of art and artworld, while
practitioners of artification in business and industry may be
discouraged from raising such fundamental questions.  After all
they are employed to enhance operational success, and even if
they do manage to raise such questions, it is not clear
whether their challenge would be taken at face value.

[45] Ibid., pp. 164-5.

[46] Pippa Carter and Norman Jackson, “An-aesthetics,” in The

Aesthetics of Organization, 180-196; ref. on 195.

[47] Adler, “The Arts & Leadership,” p. 494.