Business models are developed and managed to create value. While most business model frameworks envision value creation as a uni-directional flow between the focal business and its customers, this article presents a broader view based on a stringent application of stakeholder theory. It provides a stakeholder value creation framework derived from key characteristics of stakeholder theory. This article highlights mutual stakeholder relationships in which stakeholders are both recipients and creators of value in joint value creation processes. Key findings include that (...) the concept and analysis of value creation through business models need to be expanded with regard to different types of value created with and for different stakeholders and the resulting value portfolio, i.e., the different kinds of value exchanged between the company and its stakeholders. This paper details the application of the stakeholder value creation framework and its theoretical propositions for the case of business models for sustainability. The framework aims to support theoretical and empirical analyses of value creation as well as the management and transformation of business models in line with corporate sustainability ambitions and stakeholder expectations. Overall, this paper proposes a shift in perspective from business models as devices of sheer value creation to business models as devices that organize and facilitate stakeholder relationships and corresponding value exchanges. (shrink)

Sustainability challenges typically occur across sectoral boundaries, calling the state, market, and civil society to action. Although consensus exists on the merits of cross-sector collaboration, our understanding of whether and how it can create value for various, collaborating stakeholders is still limited. This special issue focuses on how new combined knowledge on cross-sector collaboration and business models for sustainability can inform the academic and practitioner debates about sustainability challenges and solutions. We discuss how cross-sector collaboration can play an important role (...) for the transition to new and potentially sustainability-driven business models given that value creation, delivery, and capture of organizations are intimately related to the collaborative ties with their stakeholders. Sustainable alternatives to conventional business models tend to adopt a more holistic perspective of business by broadening the spectrum of solutions and stakeholders and, when aligned with cross-sector collaboration, can contribute new ways of addressing the wicked sustainability problems humanity faces. (shrink)

Myšlení Karla Marxe se stalo základem dialekticko-historicko materialistické filosofie a tak zvaného vědeckého komunismu. Marxův filosofický vývoj byl však složitý a před dialekticko-historicko materialistickou a komunistickou fází Marx prošel fází kritického idealismu a byl jedním z mladohegelovských filosofů hlásících se k určitému způsobu interpretace německého filosofa Hegela, kterou byly ospravedlňovány požadavky na radikální společenské změny. Ve stati je ukázáno, že mezi mladší, kriticko-idealistickou, a starší, dialekticko-historicko materialistickou fází je hlubší vztah než temporálně-kauzální či logický, a tento vztah je nazván implicitní (...) přítomností kriticko-idealistické fáze ve fázi dialekticko-historicko materialistické. V důsledku Marxova a Engelsova zásahu do vývoje komunistického hnutí, ve kterém získali vedoucí ideologickou pozici, se radikálně změnila obhajoba komunismu a na základě Marxova a Engelsova příspěvku vzniká tak zvaný vědecký komunismus a socialismus, který se snaží co nejméně argumentovat morálními důvody, ale budoucí vznik komunismu ospravedlňuje jako nutnost dějin, která vyplývá z vědeckého poznání. Tato transformace komunistického ideálu měla zásadní důsledky pro komunistické hnutí a budoucí vznik socialistických systémů, které se ideologicky dovolávaly Marxova učení. (shrink)

This article approaches defective and overabundant paradigm cells as an opportunity and pitfall for usage-based linguistics. Through reference to two production tasks involving native speakers of Czech, we show how definitions of these two categories are problematized when multiple forms per context are entrenched, or when pre-emption seems to occur in the absence of entrenchment: in other words, pre-emption occurs via entrenchment of uncertainty. We explain the results by adopting a broader, usage-based perspective. We examine the relationship between frequency (as (...) proxy for exposure) and reference-work information (as proxy for a priori structure) to assess their connection with our experimental results. We assign a role to frequency as helping to form perceptions of “suitable” and “unsuitable” forms, but also note places where non-frequency factors predominate. “Structure” as represented by reference-work recommendations appears to have no significant connection to our experimental results; we discuss reasons for this. (shrink)

English summary: Heinz Ludeking belonged to the German philosophical movement that explored analytical esthetics. Ludekings analytical approach to art brought new light to the definition and concept of art. In particular, he created a connection between logical reflection and esthetic investigation. French description: Heinz Ludeking appartient a ce courant de la philosophie allemande qui a pris pour objet l'esthetique analytique, et qui est encore largement meconnu en France en depit de sa productivite conceptuelle. Dans cet ouvrage, l'auteur s'est efforce d'etablir (...) un bilan critique de la premiere philosophie analytique de l'art - celle des annees 50-60 -, c'est-a-dire des travaux qui ont precede les theories de Goodman et de Danto. L'approche analytique de Ludeking, volontiers caustique, peut etre devastatrice. Elle apporte neanmoins une lumiere nouvelle sur un probleme central, jamais veritablement resolu, celui de la definition de l'art et du concept d'art. L'une des qualites dominantes de cette analyse est d'etre parvenue a realiser une jonction exceptionnellement rigoureuse entre la reflexion logique et l'investigation proprement esthetique. (shrink)

This chapter stages an ongoing conversation between Arthur Danto and the author. In a series of encounters from 1985 till 2012 (in New York City and elsewhere) the problem of defining art is explored from different angles. Eventually, two kinds of definition are distinguished. On the one hand, a definition may aspire to identify peculiar characteristics of the things that are commonly regarded members of the noble class of artworks. On the other hand, a definition might also name criteria for (...) deciding whether an object may become a member of this class in the first place. Danto focused on the first task because he felt, quite rightly, that the second would require competences that philosophy does not dispose of. (shrink)

In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The presupposition, (...) however, that there actually is such a concept can only appear plausible at first sight. Upon closer inspection it turns out to be utterly misguided. (shrink)

On the Association of Names with Private Sensations – A Commentary on Wittgenstein’s Private Language Argument (PI 256 – 265). This commentary on PI 256 – 265, informed by Wittgenstein’s Nachlass and the recently published Skinner dictations, shows that Wittgenstein uses a particular method in these sections: He investigates what kind of meaning one might give to the parts of a philosophical sentence. Wittgenstein recommended this method already in TLP and BBB – it marks a continuity in his thought. The (...) sentence under investigation is the following: “And now I simply associate names with sensations” (PI 2009: 256). PI 257 – 265 discuss three proposals of what it might mean to associate a name with a private sensation. PI 257 investigates the claim that the association is set up by means of inventing a name, PI 258 proposes that it consists in a private ostensive definition, and PI 262, 263 suggest that it works by (inwardly) resolving to call this like that. All of these ideas turn out to be unsatisfactory. The reason why PI 258’s private ostensive definition fails is that for a private sensation there is by definition no difference between “it is the same” and “he recognized it”. This is why one cannot talk of recognition here, and therefore the private ostensive definition is an empty ceremony. The result of PI 256 – 265 is not a proof of the impossibility of a private language, but these sections show that the meaning of “And now I simply associate names with sensations” cannot satisfactorily be explained by means of the three aforementioned proposals. (shrink)

Contents: K. Ludeking, The Body and the Letters Albrecht Durer s self-portrait from 1500; E. Osterkamp, Spartacus under the Germans on the history of a literary legacy; F. Forster-Hahn, German, Modern and Jewish Max Liebermann s 1906 exhibitions in Berlin and London; U. Haselstein, A Genealogy of Modernity Flaubert, Cezanne, and Gertrude Stein; C. Asendurf, Bodies in Force Fields Art War and Spatial Theory in Classical Modernity.".

Nowadays there are many spaces of fascination in visual art. Of course, installative space and contextual space have been on the art scene for awhile. However, they are now accompanied by other spaces such as urban space, architectural space, cyberspace, hyperspace, and screen-based space. In this volume, architects, artists, theorists, three symposia and four exhibitions attempt to find answers to questions such as: Could the architectonic study and/or deconstruction of space play a decisive role in the shift of attention to (...) space? Which theoretical factors structure the current experience and meaning of space? What is the role of the aesthetization of the environment on our concept of space? Smooth Space - VCC de Brakke Grond, Amsterdam - is a project at the heart of this publication. Spatial interests range from how the concept of space is redefined and exploited in our current visual culture to how the digital world influences our spatial concepts. Participants in this issue are: Jean Attali, Annette W. Balkema, Andrew Benjamin, Ole Bouman, Bernard Cache, Paul Crowther, Christoph Fink, Hugo Heyrman, Hou Hanru, Rem Koolhaas, Geert Lovink, Karlheinz Lüdeking, Bartomeu Mari, Kas Oosterhuis, Jan van de Pavert, Keiko Sato, Eran Schaerf, Lara Schnitger, Roger Scruton, Martin Seel, Nasrine Seraji, Henk Slager, Sjoerd Soeters, Lars Spuybroek, Ann Van Sevenant, Peter Weibel and Mark Wigley. (shrink)