The abuse of power, dominance of certain shared perspectives, and reduction of personal values into so-called organizational core values are problems that plague traditional organizational direction setting. The purpose of this study was to explore how power intersects with the knowledge formation process, shared perspectives, and participatory processes within organizational direction setting. The study used an ethnographic case study approach to focus on a church that went through a yearlong direction setting process. The church had lost its senior pastor and wanted to determine its direction before hiring a new pastor. The researcher was a participant in that process. His field notes and other documentation provided one source of data. The researcher also interviewed 20 people who participated in the process. In terms of the intersection of power and knowledge formation, the study revealed that the discursive practices of the facilitator along with the voices of those in privileged groups, the outspoken, and those who had engendered trust in others carried considerable weight during the process. At the intersection of power with shared perspectives, there were two major perspectives representing subgroup cultures: a traditional perspective that resisted change and a progressive perspective that wanted change. The progressives dominated the church’s privileged groups and exerted extensive influence on the direction setting process. The organizational symbols of church staff and worship music style served to galvanize some people in the battle over which perspective would prevail. Transparency functioned as a bridge that brought some on either side of the conflict closer together. The research revealed two major types of power related to the intersection of power with participatory processes: the power of pain and intimidation. Both minimized the participation of some women, youth, and traditionalists. All three intersections featured deployments of power that influenced the construction of directional knowledge. This knowledge helped to inform the rules of “appropriate” conduct within the organization’s emerging truth regime. The study revealed that, in this case, robust directional knowledge would have accommodated personal, subgroup, and widely shared values in a state of dynamic equilibrium. The researcher concluded with a discussion of implications for organizational leaders. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

Cette thèse propose de renforcer les liens entre les études sur l’œuvre d’art et les recherches sur le curatorial par le biais des études en communication, et plus précisément de l’analyse des interactions qui se déroulent entre les acteur·e·s humain·e·s et autre qu’humain·e·s composant le processus de conception et de réalisation d’une exposition d’arts. L’exposition Femynynytees, dont j’étais la co-curatrice, a été à l’affiche durant l’été 2018 à Montréal et fut spécialement conçue comme le terrain de recherche de cette expérience. Tout au long de la création de Femynynytees, j’ai pu observer un phénomène que j’ai appelé le devenir-œuvre d’art, auquel cette thèse consacre une attention particulière. Il s’agit d’un phénomène relationnel dans le cadre duquel l’œuvre, telle que créée par l’artiste, est mise en relation avec le « curatorial » (von Bismarck et Rogoff, 2012 ; Martinon, 2013), envisagé ici comme les connaissances produites pendant la réalisation d’un projet curatorial spécifique. Ces rencontres engendrent des transitions qui permettent que l’œuvre soit comprise non pas comme un objet, mais comme un trajet (Souriau, 2009), devenant ainsi un processus qui peut donc être défini comme étant, en même temps, œuvre et curatorial. Pour observer ce phénomène, j’adopte une approche théorique liée aux nouveaux matérialismes, en proposant que le curatorial soit conçu comme un ensemble de « pratiques matérielles-discursives » (Barad, 2003). Ces pratiques sont à l’origine des changements qui se produisent avec l’œuvre lorsqu’elle est mise en contact avec un processus curatorial. Selon cette perspective, les artistes, les curateur·e·s, les visiteur·e·s, les choix d’installation, les espaces d’exposition, et tout autre élément lié à la mise en branle d’un tel évènement, font partie du curatorial et sont ainsi parties prenantes de ses pratiques matérielles-discursives. Par ailleurs, cette recherche se concentre sur les pratiques en arts médiatiques, des œuvres envisagées comme matériellement plus perméables au curatorial par la relative flexibilité de leur processus de matérialisation, ainsi que par l’aspect collaboratif du système dans lequel elles sont généralement produites. Le terme « arts médiatiques » est prédominant au Québec et fait référence aux pratiques mobilisant des technologies médiatiques – soit des technologies électriques, électroniques ou numériques – dans la création d’une œuvre. D’un point de vue méthodologique, le devenir-œuvre d’art est analysé à partir d’une perspective ventriloque (Cooren, 2013) de la communication, une approche permettant d’identifier la complexité des voix (Mazzei et Jackson, 2012) qui participent de ce phénomène. Suite à l’examen des conversations tenues pendant les visites d’atelier et les réunions organisées entre curatrices et artistes, des courriels échangés entre artistes et curatrices et des entretiens réalisés avec une trentaine de visiteur·e·s, cette thèse montre comment s’opèrent concrètement les mises en relation du devenir-œuvre dans le cas d’une exposition d’arts médiatiques. Il s’agit donc d’une recherche située (Haraway, 1988), relationnelle et processuelle qui positionne la communication comme constitutive de toute réalité (Cooren, 2012). / This dissertation aims to strengthen the existing dialogue between art studies and curatorial studies through communication sciences, and more precisely, through the analysis of the interactions that take place between human and other-than-human actors composing the process of conception and realization of an art exhibition. The exhibition Femynytees, that I co-curated, was on display during the summer of 2018 in Montreal and was specially conceived as the fieldwork for this experience. Throughout the creation of Femynytees, I was able to observe a phenomenon that I propose to call the becoming-artwork, to which this dissertation devotes particular attention. By this, I mean a relational phenomenon by which the work, as created by the artist, is put in relation with the "curatorial" (von Bismarck and Rogoff, 2012; Martinon, 2013), considered here as a mode of knowledge engendered during the production of a specific curatorial project. This encounter generates transitions in the work that allow it to be understood as a path (Souriau, 2009), thus becoming a process that can be defined as both artwork and curatorial at the same time. To observe this phenomenon, I adopt a theoretical approach, inspired by the new materialisms, which proposes that the curatorial be conceived as a set of “material-discursive practices” (Barad, 2003). These practices are at the origin of the changes that occur with the artwork when it is brought into contact with a particular curatorial process. According to this perspective, artists, curators, visitors, installation choices, exhibition spaces, and any other element related to the setting in motion of such an event, are part of the curatorial and are thus taking part in its material-discursive practices. Moreover, this research focuses on media art practices, as this type of art is considered to be more permeable to the curatorial because of the relative flexibility of its materialization process, as well as the collaborative aspect of the system in which it is generally produced. The term "media arts" refers here to practices that mobilize media technologies – that is, electrical, electronic or digital technologies – in the creation of an artwork. From a methodological point of view, the becoming-artwork is analyzed from a ventriloqual perspective on communication (Cooren, 2013), an approach that makes it possible to identify the complexification of voices (Mazzei and Jackson, 2012) that participate in this phenomenon. Following an analysis of conversations held during studio visits and meetings between curators and artists, emails exchanged between artists and curators, and interviews with 30 of the visitors, this dissertation shows how the fundamental relationships at the heart of the becoming-artworks concretely operate in the case of a media art exhibition. It is thus a situated (Haraway, 1988), relational, and processual research that positions communication as constitutive of all reality (Cooren, 2012).

Abstracts in English and Southern Ndebele / “We tend to think of the mind of an organisation residing in the … top management …but… [strategic] intelligence is not organised in a centralised structure but much more like a beehive of small simple components… ” Kevin Kelly, (1994: 166283). From the quote above, it is implied that the strategising practices of, among others, top managers, are the ‘small simple components’ that build towards the overall strategy of an organisation. The overall strategy of any organisation directly influences the performance thereof. As strategists, top managers use their thinking styles to influence the new strategic practices they endorse and those that are discarded, thereby impacting the competitive strategy employed by the organisation and ultimately organisational performance. This study investigated the rapport between the strategising practices used by top managers and their thinking styles. Based on a single illustrative case, this study utilised mixed data obtained from of 33 interviews and 79 questionnaires to describe the possible relationship between thinking styles and strategising practises. The results show that at the case organisation, thinking styles of top managers differ depending on the situation in which they find themselves. A possible relationship between thinking styles and strategising practises, at the case organisation, is further implied. / “Se taele go nagana ge monagano we mokhadlo lo o hlala e tulu, mara lehlelo le go hlaganepha le ga bekwa ge Ndlela le ngore esekhathi, mara kgulu go fana ne lekhaya le tenosi le le le gase bodese le lengane.” Kevin Kelly, (1994:166283). Go leso setsopolwe e tulu, era gore tedlela te go hlela, go leto te khona, baphathi ba se tulu, geto tedo te tengane leto te gase bodese le to te akha lehlelo gemoga le mokhadlo. Lehlelo gemoga le mokhadlo o monye na o monye le dlolela e go etene ge tedo. Jene ge bahleli, baphathi ba setulu ba beregesa tedlela tabo te go nagana, go tshwaetja tedlela te tetsha leto ba te vumelago na leto ba te kganago. Ge go eta jalo te thella lehlelo lelo le phalesanago lelo lele beregeswe mokhadlo, e maphellweni na leso mokhadlo o se yetago. Go bala lokhu, go ete gore go be ne go vesesana e khathe ge tedlela te go hlela leto te beregeswa mbaphathi ba setulu ne Ndlela leyo ba nagana gayo. Go beka nnye ye tedlela leto ba te beregeselego, go beregeswe tedaba leto te phoma go 33 ye bado labo be ba butiswa go kereya leso be ba fona go seva ne mebotiso e 79 leyo e hlalosa nkgonagalo ye go talana e khathe ge mehuda ye go nagana ne ndlela leyo go hlelwa gayo. Mephomela e bonesa gore lapho e mekhadlweni, Ndlela ye go nagana ge baphathi ba setulu e ya phabana go ya ge gore ba te kereya ba se sejamweni se se jane. Nkgonagalo ye bodlelwano e khathe ge Ndlela ye go nagana ne lenaneo le le le ladelwago e tedweni te nhlagano, te beregeselwe. Mave e bohlogwa: Bophathi ba setulu, bakgoni be go hlela, baberegi be go hlela, tedlela leto go hlelwa gato, Ndlela leyo go naganwa gayo; go khetha, mekgwa ye go nagana ge botalo, tedlela te go suga endabeni ennye goya go ennye. / Business Management / M. Com. (Business Management)