Anne Solgaard MSc Hol Sci 06_07 full thesis

Transcription

MSc in Holistic Science Schumacher College, The Old Postern,
Dartington, Devon TQ9 6EA, UK
ChangeLAB in Action
Workbook in Creativity from the Edge of Chaos
By Anne Solgaard
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ChangeLAB in Action
CHANGELAB IN ACTION
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Foreword
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Acknowledgements
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1. FROM BACK THERE TO SOMEWHERE AROUND HERE
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Introduction
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Motivation
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Context
Opening the door
Confronting the Beast
Cash is king!
Time is money!
Nature is our prerogative…
Towards a Sustainable Future
New Opportunities
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Target audience
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Drivers
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Boundaries
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Scope
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The ChangeLAB
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2. PLATFORM FOR CHANGELAB
Change at a Glance
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From Reductionist to Holistic Science
Two Paradigm, One World
Goethe and Science
Thinking
Different ways of Knowing
Perception & Cognition
To Live is to Know
A New Kind of Science
Gaia Theory
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Launching into the Edge of Chaos
Chaos, Eros & Gaia
Chaos Theory of Wholeness
Organisations as Complex Adaptive Systems
Peak performance at the Edge of Chaos
A Chaordic Reality
Networks for Change
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Creativity for a Desirable Future
Creativity as a Concept
Creative Leadership
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Worldview for Creativity & Innovation
Designing the Future
Creativity & Experience of Time
3. MOVEMENT MAPS OF MIND, HEART, & BODY
Deep Ecology
U-Process
Five Rhythms
4. THE CHANGELAB APPROACH
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A Primer to Workshop Facilitation
Group Formation
Three Modes of Facilitation
The Workshop
Evaluation and feedback
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Modes and Activities
Acting & Improvisation
Breath
Chanting & Voice
Co-creation
Comfort Zones
Connecting with Nature
Dance
Dialogue
Journaling – a Personal Dialogue
Letting go…
Listening
Scenarios & foresight
Sound
Stillness
Story Telling
Time – Experience and Reinvention
Visuals: Drawing, Doodling, Painting, Photography & Sketching
Writing
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EXERCISES PREPARED FOR THE SIGDAL WORKSHOP
Exercise 1 - Opening Circle with Ice Breakers*
Exercise 2 - Open Spaces and Connections
Exercise 3 - Personal and Collective Visioning*
Exercise 4 - Six Thinking Hats*
Exercise 5 - Remarkable Ideas & Purple Cows
Exercise 6 - Me, I and my commitment
Exercise 7 – Dialogue*
Exercise 8 - Developing an Action Plan
Exercise 9 - Before we embark on the last stretch…*
Exercise 10 - Harvesting
Exercise 11 - Closing circle*
5. THE SIGDAL WORKSHOP, 3 – 5 AUGUST, 2007
Towards a College of Holistic Science in Norway
Background
Workshop Summary
Framework & Process
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Methodology
Justification of Approach
The Workshop & the Vision
Annotated Agenda by Activity
Feedback from Participants
Participant Reflections on Creativity & Time
Personal Reflections
6. TOWARDS A NEW PILGRIMAGE
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Next Steps
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GLOSSARY
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APPENDIX
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Appendix 1 – Workshop Invitation
Error! Bookmark not defined.
Appendix 2 – Agenda (as it happened)
Appendix 3 – Workshop Summary by Session
Appendix 4 - Moment-to-Moment Reflection
Appendix 5 - Participant list for Sigdal workshop 3 - 5 August
Appendix 6 – Prior Informed Consent
Appendix 8 – Presentation: Setting the Stage
REFERENCES
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Dartington - Oslo, 2007
Dedicated to my grandmother, Edit Solgaard, who once hoped I would become a priest, and last
summer concluded that my work for a more sustainable future, vitality and healthy living is contributing
to the same end…
Thank you for your loving prayers!
Foreword
A tribute to transformations
Embracing inspiration, insight, initiative and action.
Authenticity and presence in the eternal now. Companions for an emergent future. Strength!
What is life but a creative expression of change? Continuous
Nothing more to say… except come along, lets walk this road, together!
Anne Solgaard
Oslo, 26 August 2007
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Acknowledgements
I also want to dedicate this paper to my parents, Sidsel & Torfinn Solgaard, for being such excellent
role models of the chaordic reality. They early taught me to appreciate the two faces of Janus, the diety
of doors and transitions, facing past & future, chaos & order, yet unquestionably present on the edge. I
am grateful for their support, for believing in me, and for encouraging me to go on long after I had lost
faith in my own abilities.
I owe thanks to many people for inspiring me to embark on this journey and for being there during the
twist and turns along the way. It has been an incredible process that started long before Schumacher. I
trust you know who you are.
However, I want to mention a few. First of all I thank James Lovelock for painting an absolutely horrific
picture of the future. Without him, I would not have understood how destructive fear is. Equal thanks to
Satish Kumar for speaking to the need for being the change and walking the path of compassion. Long
live the optimist!
I want to thank all participants in the Sigdal workshop Aug. 3-5, 2007. Thanks for letting me work with
you for three magnificent days, and for making me ever more convinced that there is scope for a
centre or college of holistic science in Norway. I especially want to thank Dino Karabeg, Øyvind
Sørbøden, Tor Næss for high-jacking me at Schumacher last March, and Gunnar Tellness for trusting
me with the workshop, opening his home, and interesting discussions about Nature, Culture & Health.
Also, the cover page illustration is made by Jarl-Hugo Låstad, and was published in Samspillet NaturKultur-Helse NaKuHel-konseptet i teori og praksis (the Nature-Culture-Health Connection) in 2003. I
am grateful to Gunnar Tellnes for allowing me to use it here.
Thanks to Bob Willard, Cynthia King, Alastair Fuad-Luke & Bjørn Borgen for heartening conversations,
references, corrections, and input. And also to Susannah Darling Khan for helping me to rediscover my
own rhythm through dance.
And thanks to all the MSc’s 2006 / 2007, helpers and short course participants for sharing a fantastic
time at Schumacher and beyond. Particular thanks to Ben Brangwyn, Alex Hanley, Li An Phoa, Erin
Scott, Azul Thomé & Nigel Topping for friendship, open hearts, critical comments, and ongoing
discussion and dialogue, may life allow them to continue.
Finally a “mega” thanks my supervisor James Gray-Donald at Plymouth University, and to Stephan
Harding & Brian Goodwin for guiding me through an incredible universe of knowledge, for constructive
feedback and open doors.
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1. From back there to somewhere around here
introduction, motivation, context, target audience, drivers, boundaries, scope,
the change lab.
Introduction
Welcome to a journey about the dynamics of creativity. In this paper, which I call a workbook, I will look
at the source of creativity both as a cosmic phenomenon born out of chaos as well as a response to
and expression of different ways of knowing. I will address creativity from a perspective of holistic
science; henceforth my attention is on convergent and multifaceted approaches in quest of insight and
momentum to foster creativity for individuals in groups.
The paper has three distinct sections. In chapter one I will give an account of the perspective from
which the paper is written. This includes a brief account of my reading of our modern day ecological
crisis, and the hitches of perceptions I see associated with this.
Having set the stage, I will in chapter two look at underpinning concepts and frameworks for an
emergent scientific approach to value and explore the unpredictable nature of creativity. I will take the
reader from an account of traditional science via an appreciation of divers knowing via the edge of
chaos and to ideas of designing the future as it emerges.
The theory prepares the ground for the practical approaches to fostering movement of mind, heart and
body. In chapter three I highlight three movement maps to bring about change that manifest in day-today life. In chapter four it is all about unlashing, exploring, testing, trying. I present a myriad of design
and ideas that can hep in unlashing creativity. There is no size fits all, and some approaches may work
for one person, where as others will work for several groups. This is also the nature of chapter four.
The fifth chapter is meant to demonstrate an amalgamation of the theoretical and practical aspects,
however as it often is when we try to combine one and two to get three, the result is something very
different. This time it became five. An incredible workshop where little went according to plan, and the
input, recommendations and commitments far exceeded expectations. Go figure – that’s creativity in
action!
Finally, finally, finally, the circle will reach some sort of completion. I bring you back to the objective and
to the heart of lessons learned, for me to me, and perhaps also to you?
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Motivation
The whole globe is shook up, so what are you going to do when things are falling apart?
You’re either going to become more fundamentalist and try to hold things together, or you’re going to
forsake the old ambitions and goals and live life as an experiment, making it up as you go along.
- Pema Chödrön
A Chinese proverb goes; “Change is the only constant”. This is a thought that seems to contradict the
founding ethos of our western civilisation. We have learned to believe in the notion of ownership, and
deluded ourselves into thinking that we can have control over our lives, the past, the future, as well as
of nature. We have grown accustomed to seeing ourselves as separate from nature, and that we as
mankind is her master. Natural resources exist for our economic benefit, and have interest as long as
they contribute to economic wellbeing. Change does not fit into this picture. However, with desire to
control and a perception of Earth as a machine, rather than a living self-organising complex system, we
have suppressed our innate ability to be creative, flexible and adaptable team players on Planet Earth.
In our quest for control and predictability there is little room for emergence and self-organisation. This
is further enforced by our awareness of the difference between yours and mine, whilst undermining any
notion of us and our. I contend these are all symptoms of a culture on the verge of despair.
My impulse for this workbook was triggered by a desire to spur resilience to change, encourage
creativity to tackle the environmental and social challenges in a new way, whilst looking to nature to be
our teacher for a proactive energetic present and a more sustainable tomorrow.
I have prepared this primer as a way to gain some clarity and depth in working with creativity for a
more sustainable future. Having worked with policies and mechanisms to foster more sustainable
consumption and production patters for many years, I have become increasingly more impatient with
the lip-service, the empty words and apathy that people including myself, often feel with regards to
being an effective change agent. It seems the human mind enjoys repeating familiar patterns of
thinking; this means that we easily fall victims of our habitual ways perceptions, assumptions and
thinking. I consider that the dominant culture in our part of the world does not encourage or trust
insight that is brought about through the sensory, the intuitive or feelings. I believe this leaves us
poorer in knowledge, wisdom and experiences. Elisabeth Sahtouris says that nature is conservative
when things are going well and radically creative when it is challenged1, it is time for humankind to
break out of our minds and into other realms of knowing to move towards our inherent, but somewhat
suppressed, radical creativity. As I pointed to above, the situation on planet Earth has never been more
serious, and as Einstein said almost 100 years ago; we cannot solve problems with the same kind of
thinking that brought it about. I see only one possible approach for being an effective change agent at
this time of rapid and unpredictable change, and this is to foster preparedness, creativity, and curiosity
for different ways of coming to knowing. Our culture might be fragmented and experienced as shallow,
but nature, of which we are part, can help us relearn creativity and to see how everything is an aspect
of a greater whole, interconnected and interdependent through the web of life. I contend that by
looking to the ecosystem for guidance, we will be given the conceptual framework and inspiration
needed to work towards a more sustainable future. In the words of David Peat;
“I am writing to discuss Creativity and its importance for society. I believe that we need a new creative
response to the sorts of issues which face governments, institutions, organisations and individuals
today. My premise is that the Newtonian world view, which for so long dominated science, has led to
the assumption that nature and society can always be viewed objectively and that any problems which
1
Sahtouris, E.(Aug. 2006) Seven Reasons Why I Remain an Optimist. Shift: At the Frontiers of Consciousness. No.11 June
p.35
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arise can be predicted in their course and in some way controlled… I would like to contrast (this) with
the new paradigms that are emerging from the study of chaotic, sensitive and non-linear systems.
Prediction often becomes impossible for such systems and, while they remain deterministic, their
extreme sensitivity makes, in many cases, any form of control is out of the question.”2
More than twelve centuries ago, a Tibetan prophecy arose speaking of a time of great danger, conflict
and disruption – a time of apocalypse. Joanna Macy points out that the Tibetan Buddhist speaks of this
evolution as coming through in our time. There are similar prophesies from several indigenous groups
across the word such as the Kogi Indians of Columbia, and the Mayas of the Amazon.3 I do not need to
search for proof of prophecies; it is enough to open the daily newspaper to see that we are in a time of
turmoil and change. If not apocalypse, there is most definitely a great deal of upheaval both in
geopolitics and for individuals. The same sources talk about responses of compassion and insight. My
objective with this workbook is no less than to help prepare myself and others to become warriors for
change. To get ready to work with compassion and insight to assist in facilitating a shift towards, as
Ervin Lazlo articulate, breakthrough rather than breakdown and apocalypse. We can think of this as
“Shambhala Warriors” in the words of Joanna Macy,4 or “Warriors of Light” as Paulo Coelho says.5
Peter Russell, De Quincey and Jung talks about a shift in consciousness as the overriding factor in
bringing about a more sustainable future. Their insight has been an inspiration and important
grounding for this primer. I hope that one day we will proudly be able to join Thomas Homer-Dixon
saying,
“They weren’t surprised by surprise; they were comfortable with extraordinary uncertainty; and they
intuitively understood that resilience in the face of constant change demands constant creativity –
especially when it comes to fining new ways of using the materials and tools at hand to solve pressing
problems.”6
Gandhi tells us to be the change, to live the change, and walk the change. Satish Kumar, Programme
Director at Schumacher illustrated Gandhis’ commitment to being the change in a little story about a
little boy who ate too much sugar. His mother brought him to Gandhi so that Gandhi could tell him to
stop eating sugar. Gandhi told them to return the next day, upon when Gandhi told the boy to stop
eating sugar. The mother got confused, wondering why Gandhi could not have said this the day before.
Gandhi responded; “yesterday I was still eating sugar”….7
My desire is to live the change I perceive necessary. With this workbook I wish to bring attention to
some possible approaches to making change manifest itself through creativity in my life and through
my work. The extended ambition is to help others to access new ways of generating new ideas, or gain
insights to approaches for a more desirable future as individuals, in dialog with others and with Gaia. I
wish to contribute to building acceptance and resilience to continuous change by letting go of the idea
of predetermined outcomes, but rather bring energy into making the process as energetic and
balanced as possible. If I can do this, I am confident I can help bring about a more harmonious today,
whilst contributing to a more sustainable tomorrow.
2
Peat.D.F (1989) Comment on Chaos Creativity Research Journal 1, 131.
http://www.paricenter.com/library/papers/peat03.php
3
Alan Ereira's documentary, 'From the Heart of the World - The Elder Brothers' Warning'. & Russell, P (1990) White Hole in
Time. www.peterussell.com
4
Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press.
5
http://www.paulocoelhoblog.com/warrioroflight/
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Homer-Dixon, T. (n.a.) The Upside of Down – Catastrophe, Creativity and the Renewal of Civilization.
http://aspocanada.ca/images/stories/pdfs/upside_down.pdf (Search April 2007)
7
Satish Kumar from fire-site chat Schumacher College, January 2007.
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Context
“Every few hundred years in western history there occurs a sharp transformation. Within a few short
decades, societies – its worldviews, its basic values, its societal and political structures, its arts, its key
institutions – rearranges itself. And the people born then cannot even imagine a world in which their
grandparents lived and into which their own parents were born. We are currently living through such a
transformation”8
- Peter Drucker, Post Capitalist Society.
Opening the door
We are in a time of unprecedented global change and upheaval. In the past year the challenge of
climate change has moved from the periphery of political awareness to an issue of concern for citizens,
governments and business’ worldwide. The awareness may be attributed to the release of the Stern
Review and the recent 4th assessment report from the Intergovernmental Panel on Climate Change
(IPCC) as well as a the release of the Al Gore movie an ‘Inconvenient truth’, and a series of other
international, regional and national efforts to address climate change and energy resources in
particular. These endeavours coupled with visible signs of change in ecosystems, weather patterns,
natural resources and a rapid decline in biodiversity have made climate change into an undeniable
challenge. It is no longer a question whether climate change is a reality or not, the subject is what to do
about it, and how to tackle the imminent problems swiftly to safeguard against catastrophic
consequences for future generations.
The IPCC has established consensus in the scientific community that climate change is attributed to
human activities as well as to natural cycles and that carbon emissions have already pushed up global
temperatures by half a degree Celsius. The Panel note that a temperature rise of 0.2’C is projected for
the next two decades. The IPCC confirms that there is a 50% chance that average global temperatures
could rise by five degrees Celsius by the end of this century.9
Conservative estimates expressed both by the IPCC and the Stern Review show that to stabilize
temperatures at manageable levels, emissions would need to plateau in the next 10-20 years and fall
between 1% and 3% annually after that. As the global economy and activity is projected to grow, this
would mean a net reduction in emissions by about two thirds of current emission levels by 2050.
Estimates show that we are currently at 430ppm CO2e in the atmosphere. Based on this, Stern outlines
trajectories for stabilizing at 450ppm CO2e and at 550ppm CO2e, highlighting that the latter is the
most realistic scenario. The review projects this will give a temperature increase of 2-4 degrees Celsius
by 2050 depending on global feedback loops, tipping points and the responses of sinks and
sources.10
The main message from the Stern Review is that climate change is “the biggest market failure the world
has ever seen”. Based on this, Stern proposes three main approaches: “carbon pricing, technology
policy, and removal of barriers to behavioural change”. Stern calculates that mitigation against climate
change today will cost approximately of 1% of global GDP, whereas adaptation to the climate
catastrophe tomorrow will be up to 20 – 30 times more expensive.11 Stern asserts that extreme
8
Drucker as quoted in Ray, H.P. & Anderson, S.R. (2000) The Cultural Creatives – how 50 Million People Are Changing the
World. New York: Three Rivers Press p. 315
9
IPCC (2007) Climate Change 2007: The Physical Science Basis. Summary for Policymakers. Contribution of Working Group
I to the Fourth Assessment Report of the Intergovernmental Panel on Climate Change & Stern, R. et. al. (2006) STERN
REVIEW: The Economics of Climate Change
10
Ibid.
11
Stern Review (2006) The Economics of Climate Change Executive Summary
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weather could reduce global gross domestic product (GDP) of economic output by 3% with a onedegree temperature increase. If temperatures rise by five degrees Celsius, the Review notes that 10%
of global output could be lost with greatest impact on the poorest countries. Stern says that in the
worst case global consumption per head would fall 20%.12
Since its release, several scientific voices have uttered that the projections by the IPCC are
unrealistically low. Scientist such as Stephan Harding, Peter Bunyard and reports from the Hadley
Centre point to the fact that the baseline estimates for the reports from IPPC and Stern fail to include
the unpredictable dynamics of the biological sinks and sources for CO2 such as a more rapid
deforestation rate of the Amazon, melting of the Greenland ice and the Siberian tundra and ensuing
expansion of the boreal forest. These factors may contribute to reducing the earths’ ability to self
regulate, setting off positive feedback loops that manifest though more severe impacts of climate
change triggered by surpassing so-called tipping points for ecosystems.13 At first hand, this could leave
at least 200 million people displaced. However, further temperature increase will lead drought and
declining crop yields in many parts of the world, and up to 40% of species could face extinction.14 But
the consequences may be even more far-reaching, and climate change is, only a symptom of the real
challenge; namely the way we think.
Confronting the Beast
“The single most important problem facing the world today is our misguided focus on
identifying the single most important problem”.15
- Jared Diamond
I consider that the primary challenge for humankind is one of perception and worldview. Climate
change, population growth, dwindling freshwater resources, destruction of habitats and diminishing
biodiversity, desertification, deforestation, soil erosion, pollution, waning resources of fossil fuels and
with that a looming energy crisis are all problems that have been brought about as a result of an
anthropocentric and mechanistic worldview prompting unsustainable consumption and production
patterns. Since early days, the impetus for humankind, and particularly for, as Wolfgang Sachs calls it,
the Euro-Atlantic civilization, has been one of seeing himself as the ruler and master of nature. This
was enforced with the introduction of the Cartesian worldview in the 16th century and further impelled
by industrialisation during the 18th and 19th century. Mechanisation meant efficiency, predictability,
control and quantifiable outcomes.16 Addressing the quantifiable rather than the qualitative, gave rise
to a culture of piecemeal approaches in policymaking as well as in economic activity. Pieces can be
measured, whereas the whole is not easily quantifiable. Insight to the dynamics of the whole along the
notion of the whole being greater than the sum of its parts, is lost in any attempt to count and calculate
individual components. I will come back to this in Chapter 2. First, I will bring forward some reflections
on how our perception of value is expressed through three seemingly quantifiable entities; money, time
and natural resources.
12
Stern Review (2006) The Economics of Climate Change. Executive Summary. p. xviii
Harding, S. Discussions & Lectures Schumacher College 2007. Bunyard, P discussion with MSc students at Schumacher
College February 2007. Met Office Hadley Centre http://www.metoffice.gov.uk/research/hadleycentre/
14
http://www.metoffice.gov.uk/research/hadleycentre/models/modeldata.html
15
Diamond, J (2005) Collapse. London: Penguin Books Ltd. p. 498
16
Sachs, W. & Santarius, T. Eds (2007) Fair Future – Resource Conflicts, Security & Global Justice. London: Zed Books.
Diamond, J (2005) Collapse. London: Penguin Books Ltd. & Goodwin, B. (2007) Nature’s Due – healing our fragmented
culture. Edinburgh: Floris Books
13
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Cash is king!
The saying goes; ‘Cash is king!’ And to be the king we need to trade, exchange and acquire wealth. The
more money exchanged, the more transactions regardless of what, the better. Gross Domestic Product
(GDP) records all of these expenditures and earnings, and the value is accounted for simply by adding
up the numbers. This means that an oil-spill, a traffic accident or traded toxic substances are recorded
as expenditures and therefore help the national economy to grow. The very make-up of the economy
promotes consumption regardless of cost to the environment, to communities, or to the social fabric.
Hence, the heart of the problem is that our fossil fuel economy rewards and perpetuates what Herman
Daly calls’ “uneconomic growth”.17
To add insult to injury our deep-seated appreciation for numbers has brought about a rebound effect
of initially better or more sustainable consumer choices. A rebound effect is typically triggered when
individuals feel that their consumer choice is significantly better and thus justifies doing more of the
same; hence increasing the overall levels of consumption and nullifying or exceeding efficiency gains.18
So not only are we trapped in a consumer culture, but once we try to vote with our wallets, we easily fall
into the same spell of doing more for less just because we can, and believe we need it. We are
constantly told that our happiness and our wealth is one, so we work more, earn more, spend more,
but do not ever seem to reach promised satisfaction. We buy green, fair and ethical. But the issue is
still the same; we are caught up in a numbers game.19 In March 2007, The Ecologist reported that a
survey by Churchill Home Insurance found that “on average women buy 14 items each year… which
will never be worn.”20
Time is money!
Benjamin Franklin coined the term “time is money” in 1748.21 The tragedy of our age is that we
believe it to be true. This shapes the way we think and the way we relate to one another. What is scarce
is valuable, prompting predictability and efficiency, so that we can get more with less, do less for more,
always counting, continuously aiming to meet demands of shorter timeframes. Hence, the link between
time and money reflecting a fragmented culture.22 The emphasis is on quantity, and the quality of
processes and experiences seems secondary, leaving us alienated from authentic relationships and
developments. Before the Cartesian split, the reformation and industrialisation, Francesco Patrarcha in
the 14th century talked about time as an expression of everything money could not buy. To him, time
was an agency for life and subsistence.23 As Jay Griffiths say, “Time-is-money is a lie, don’t buy it!”24
17
Daly, H. E. & Cobb. J.B. (1994) For Our Common Good – redirecting the economy toward community, the environment,
and a sustainable future. Boston: Beacon Press
18
Green & Difiglio (2000) Energy efficiency and consumption – the rebound effect. Energy Policy, Vol 28, Issue 6-7 &
Hetwich, E. (2005) “Consumption and the Rebound Effect: An Industrial Ecology Perspective.” Journal of Industrial Ecology
Vol 9, Nr 1-2. pp 85-98
19
Juniper, T. (2007) How many light bulbs does it take to change a planet? 95 ways to save planet earth. London:
Quercus & WBCSD Eco-systems Issue Brief (June 2005) http://www.wbcsd.org/includes/getTarget.asp?type=d&id=MTU4MjE
20
The Ecologist (March 2007) p. 66 www.theecologist.org
21
Berg-Eriksen, T. (1999) Tidens Historie. Oslo: J.M Stenersens Forlag A.S. p. 110
22
Goodwin, B. (2007) Nature’s Due – healing our fragmented culture. Edinburgh: Floris Books
23
Berg-Eriksen, T. (1999) Tidens Historie. Oslo: J.M Stenersens Forlag A.S. (1999) p. 110
24
Griffiths, J.(1999) Pip Pip – a sidewise look at time. London: HarperCollinsPublishers Ltd.
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Nature is our prerogative…
“… the greatest inequalities stem from those who pursue excess, not from those who are driven by
necessity. One does not become a tyrant to stop feeling cold”.
- Aristotle, 329 BC
The third heritage of the Euro-Atlantic culture is our notion of how nature is there for us to manage and
use for our own good. This is the very embodiment of the anthropocentric and mechanistic worldview.
We have only recently begun to discover that we have been drawing on finite natural resources, which
have brought about an awareness of the tight coupling between monetary value, time and natural
resources. In this there seem to be little room for seeing the intrinsic value of ecosystems, or that of
individual creatures such as birds and bees, or elements like rocks and lakes.
We can see traces of mans desire to control nature as far back as 2000 BC. Among other scriptures, it
is a feature in the biblical creation story in Genesis where Eva is persuaded by the snake to eat of the
forbidden tree of wisdom and talks Adam into eating the same fruit. With this they gained insight to
distinctions of good and bad, order and chaos. In this story, the garden was viewed as tamed ‘ordered’
nature, whereas the world outside was wilderness and ‘chaos’. As Eva had gone against the word of
God, it was now Adam or Mans task to tame her, as he also had to tame the wilderness into new
gardens. Eva represented temptation and chaos as lack of control, and Adam became the agent of
orderly and structured change to bring humanity back to the garden. We can see how this has tainted
our worldview and desire for control, ordered linear thinking. 25 The Judo-Christian tradition was the
cultural backdrop for the Euro-Atlantic civilisation, and its values have been propagated throughout the
world by way of colonisation, and later through political and economic activity.26
Natural resources are the lifeblood of the economy. In Fair Future Wolfgang Sachs describes how
Chinese companies are becoming extremely expansive in Africa.The world’s fastest growing economy
working with the ‘forgotten continent’ that has been left behind by the world economy for decades. The
Chinese companies are buying copper mines, farmland, and forest and bringing the raw materials back
to China for manufacturing. Mirroring colonial economies of the past, and unfortunately for the African
economy, very little money is fed back into, or circulates through the local economies of Africa. The
Chinese are following a model of economic development inherited from Europe, except more extreme
due to technological advancement allowing for physical scale to be larger and time scales to be
shorter. This is an example of how a paradigm, and not necessary a people or race, has lead to
unequal ecological exchange, exploitation and division between peoples and nations. I consider that
the concept of ‘natural resources’ is detrimental. It suggests that something is there for another,
namely nature exist for mankind. I consider this the chief flaw of our civilisation.27
Towards a Sustainable Future
In 1987, the Bruntland Commission defined sustainable development as “meeting the needs of the
present without compromising the ability of future generations to meet their own needs“.28 Since then,
sustainable development has proved to be a moving target, a concept that is inserted in multiple
contexts and interpreted differently by various people depending on background and culture. In this
workbook I treat the notion of a desirable and sustainable future as an objective companies,
organisations and societies should strive towards; it is a vision but not a place, nor a set of quantifiable
25
Merchant, C (2000) Open Evening Schumacher College. Captain Productions
Sachs, W. & Santarius, T. Eds (2007) Fair Future – Resource Conflicts, Security & Global Justice. London: Zed Books.
27
ibid.
28
WCED (1987) Our Common Future. New York: UN p. 43
26
13
targets. I infer that a sustainable future is about bringing about a future where the intrinsic value of all
living beings is taken into account in the shaping of initiatives, processes and actions both at the local
and global level. This means, as Arne Næss says, to be guided by a personal “ecosophy” or sense of
belonging as a foundation for perceptions, insights and actions. I contend that a society wide
appreciation of the intrinsic value of life will be a shape sifter in the way our civilisation perceives and
act on desirable lifestyles, production standards and governance.29 A case in point: In January 2006,
the New Economics Foundation with Friends of the Earth published the “Happy Planet Index”(HPI),
which demonstrates that there are multiple ways of achieving wellbeing. The report brings attention to
the importance of the interrelated nature of social networks, local culture, environmental health, and
political and economic stability as key factors for human and planetary wellbeing.30
William McDonough, an American eco-architect guru consider that a sustainable world is “a delightful,
safe and healthy world with clean water and renewable power, economically equitably, ecologically and
elegantly enjoyed”.31 John Ehrenfeld describes sustainability as “the possibility that we all flourish
forever”.32 Ehrenfeld is referring to all living beings, the natural environment and humans alike. Ervin
Laszlo says that we are in a so-called “decision window”, where social and environmental problems
challenge the status quo. He concludes that depending on how countries and citizens respond we will
experience a breakdown or breakthrough in the coming years. Laszlo considers that a breakdown is
imminent unless there is a shift in thinking and lifestyles, and unless the “economic, political, and
ecological dimensions of society stabilise in a non-conflictual and sustainable mode”.33
Aligning the idea of creative change for a sustainable future with the traditional thinking of business
and organisations is complex. Smith & Yanowitz forward that new “mental models for thinking about...
business and new ways to reach across internal and external boundaries” are needed. They note, “the
concept of sustainable development shakes up existing industrial habits of thinking and doing, and
spurs people to fresh solutions”, in other words; foster creativity.34 Creative leadership for sustainable
development operates at the crossroads between several disciplines. Frans Johannson says, “The
intersection is a place where we must leave many of our preconceived notions behind. There is logic to
intersectional ideas, but the logic is not obvious”.35
I deduce that change for a more sustainable future is best facilitated through ideation, creativity,
dialogues, learning and transformation, coupled by a high degree of operacy,36 inspired by co-creation
and so-called virtuous cycles for sustainable innovation that help demonstrate how change has been
initiated elsewhere.37 I believe such a shift will only be possible if it draws on the creative resources of
individuals and stakeholders across civilizations and communities. In other words, initiatives and ideas
for change and transformation must come from citizens; whilst governments should provide favourable
29
Harding, S. (n.a.) What is Deep Ecology? Through experience, deep questioning and deep commitment emerges deep
ecology. Resurgence 185
30
NEF (2006) The Happy Planet Index – an index of human well-being and environmental impact.
31
David, Kemker, “Earthkeeper Hero: William McDonough” /online/, /cited July 8, 2004/ my hero website, April 20, 2004.
www.myhero.com/myhero/hero.asp?hero=McDonough_Update_04>
32
John Ehrenfeld, “Tomorrow’s Challenges,” presentation given at York University’s Sustainable Enterprise Academy, May
3-5, 2003, Kimberly Ontario
33
Laszlo, E. (2006) The Chaos Point – the World at the Crossroads. London: Piatkus Books Ltd. p. 11
34
Senge, P. et. al.(1999) The dance of change: The challenges of sustaining momentum in learning organisations,
London/NY: Nicholas Brearley, p 530
35
Johansson, F. (2004) The Medici Effect – Breakthrough insights at the intersection of ideas, concepts & cultures. Boston:
Harvard Business School Press.
36
Operacy is a term invented by de Bono which refers to the skills of doing De Bono, E. (1982) Edward de Bono’s thinking
course. London: MICA Management Resources p. 62
37
Manzini, E. & Jégou, F. (2003) Sustainable Everyday . Scenarios of Urban Life. Milano: Edizioni Ambiente
14
frameworks and business act as frontrunners in the imminent revamping of local and global trends and
processes, thus all stakeholders need to take part and drive this process together.
New Opportunities
“At the most basic level we have to reconsider how we feed ourselves; how we warm and cool
ourselves – in short, how we receive and use energy; how we use and look after water; where we live
and work; how we transport ourselves; how we use, save and recycle materials; how we work with
others across the world; how we treat the other animals and plants with which we share the planet; and
above all how we think: not just as produces or as consumer, but as real, creative, imaginative,
resourceful people.”
- Sir Crispin Tickell, Director of Policy Foresight Programme
University of Oxford38
As suggested, meeting the ecological challenges of our time will certainly mean a shift in the way we
think, and in the way we respond to change and unrest. Thus it is important to identify how creativity,
innovation and new opportunities may be harnessed in the process of transformation. I see the current
gust of attention on climate change as an opportunity for working together to create the future we truly
desire. To bring about a sustainable future on Planet Earth, our efforts need to be based on reverence
for all living beings by fostering improved quality of life through a paradigm of wholeness, harmony and
cooperation rather than fragmentation, self-interest and competition. A serious response to, for
example, climate change will not only mean a more simple low impact lifestyle, but that citizens in
communities, business and governments join hands to move towards a zero emission society. The net
effect of communal effort can be mutual gains manifested as cleaner air, water and soils, stronger
social structures, as well as improved efficiency through closed loop systems and local economies
contributing to economic wellbeing. I believe this will reshape the way we go about our day-to-day lives,
and have a profound psychological impact on the western mind. We may for example need to move
from an individualistic centred society towards one of community, move away from a life measured in
quantities to one of qualities. Fritjof Capra says “the great challenge of our time is to create sustainable
communities, i.e. social and cultural environments in which we can satisfy our needs and aspirations
without diminishing the chance of future generation”.39 In other words, sustainability put into practice.
Target audience
This booklet is prepared as a resource guide for my own facilitation practice. It is my hope that it may
also be an inspiration for anyone who seeks to encourage creative processes in groups drawing on
perspectives of Deep Ecology to mobilise action for a more sustainable future.
Having said this, chapter one to four is aimed a group called cultural creatives40, and who may have
some former experience with facilitation but wish to explore and promote strategies for unlashing
creativity with groups and individuals by encouraging a closer relationship between the human soul and
the ecosystem. I consider the cultural creatives is a group who are willing to cut ties with conventional
ways of thinking, knowing and working, whishing to respond to challenges at hand by designing a new
and more desirable future. The cultural creatives are not confined to one sector, hence below I list key
drivers for all conventional stakeholders.
38
Tickell, C. (2007) The Human Impact. Resurgence No 243 July/August 2007 pp. 20-21
Capra, F (1997) Web of Life – a new synthesis of mind and matter. London: Flamingo p. 4
40
Cultural creatives is a term coined by Paul H. Ray and Sherry Ruth Anderson in their book The Cultural Creatives – how
50 Million People Are Changing the World. New York: Three Rivers Press. Also used by: Florida, R. (2002) The Rise of the
Creative Class. And how it’s transforming work, leisure, community & everyday life. New York: Basic Books
39
15
Chapter five, the workshop report and reflections from the Sigdal workshop is primarily for my own
learning as well as the report will be of interest for the participants in the workshop as an account of
the ideation process of working towards a college of holistic science in Norway.
Finally, chapter six, the recommendations and next steps aim to be relevant for all the abovementioned
audiences.
Drivers
I consider that the main driver for any group to embark on a process to unleash creativity is their living
in a time dominated by fast changes and unrest coupled with their desire to contribute to change for a
more sustainable future. In more concrete terms I see creative change initiatives blossom particularly
within communities and organisations. I believe this surge is prompted by a social need for working in
companionship with others, triggered by disillusionment with modern individualistic centred lifestyles
and the stress that comes with it. Initiatives such as the Transition Town movement in the UK, and the
Pachamama Alliance are two examples of this.41
For governments, the main diver for change of policies aiming to foster more sustainable development
is prompted by scientific findings illustrating the ecological and social crisis we are up against.
However, this information alone will not call for a response to engage in a creative process. As I
consider governments to be inherently conservative hierarchical structures, I see little scope for
engaging in processes seeking to untie creative potential unless individuals within the organisations
initiate it.42
The image of drivers for creative change is somewhat different in the corporate sector. Based on a
review of literature in creativity, management and design for sustainability, I recognise broad external
and internal drivers for working with creativity for a more sustainable future. In the past year, it seems
the increased awareness around climate change and unsustainable consumption and production
patterns have contributed to rising social expectations for sustainable innovation. This prompts
external drivers such as consumers demand, a public relations crisis, more stringent regulations, as
well as increased awareness around threats and overall market conditions. Moreover, internal drivers
that may prompt a creative process for sustainability may include the individual team/organisational
members passion, this is particularly compelling if the individual is the founder or manager. A
breakdown in internal communications and lack of cooperation between organisational units may be an
instigator for broader process. New innovation and a desire to optimise and profit from know solutions
that do not yet have a natural place or function within the organisation seems to be a powerful
instigator for creative processes as a way to identify new markets or enhance a new brand. Finally the
process may be instigated by identified bottom up benefits, as a by-product of good business
management, and the fact that sustainability makes business sense.43
41
Their websites are respectively: http://www.transitiontowns.org/ & http://www.pachamama.org/. Please see further
references for networks and organisations in chapters 2 and 3.
42
I base my opinion on experience working with national ministries and an intergovernmental organisation for a period of
five years, and having had to relate to or work with numerous governments and government agencies from around the
world.
43
Willard, B. (2005) The Next Sustainability Wave – building boardroom buy-in. Gabriola Island: New Society Publishes
16
Boundaries
The booklet provides an overview of approaches that I feel are relevant for the seeking creative
solutions for a sustainable future. It is not exhaustive, and I have merely made a selection of
approaches. There are boundaries due to time and resource limitations. I will not go into details about
traditional change management approaches as this ground is already well covered. Nor does this
paper address the use of information technology for creative processes and dialogues which include of
the use of virtual networks for dialogues such as Wiki technology, blogs and interactive websites. These
processes are rich and will feed into my future practice.
The booklet draws together many different disciples and thinkers who have already crossed disciplines
primarily drawing authors who work in the intersection between ecology, philosophy, spirituality and
creativity. This is not an in-depth guide to facilitation or organisational theory. It is meant as an entry
point for facilitators to push their own boundaries, be creative and then follow-up with processes that
excite them and their groups.
Scope
This is a workbook to promote receptiveness to change in organisations and businesses by unlashing
creativity to bring about a more sustainable and desirable future. It is clear that acting on and
integrating sustainability concepts into business and organisations requires giving attention both to
technological, economic, social and cultural issues. I contend that addressing all these aspects
individually, or with a narrow mindset will have limited value. In order to foster appropriate and holistic
change, the process needs to be founded on a notion of receptiveness to change and a desire to
engage in a continuous unfolding creative process. It seems that the greatest challenge before us is to
facilitate a shift in perceptions and values of individuals and the functioning dynamics and underpinning
paradigms of governments and organisations. Change through strategic dialogue with each other and
nature around us, whilst engaging in different ways of seeking new insight and ideas seems to me to be
a fundamental response.
The ChangeLAB
The ChangeLAB, or Change Laboratory, is a personal notion I have of taking, giving and finding space
to free creativity and foster ideation for individuals in groups. It can be a physical room, but does not
have to be. It can be constructed within the boundaries of a workshop, as was my objective for the
Sigdal workshop. Hence, ChangeLAB is a mindset intended to allow for a creative process in meeting
with nature, anywhere. My dream may be to establish a physical space for a Change Laboratory, it
could be by way of a college of holistic science in Norway, or it might be something else. But the
ChangeLAB exists in me already, and it is about identifying and working with a platform and approach
to allow creativity to unfold as a child of a dynamic process of living change in a meeting with nature
around us, and the movement within.
17
2. Platform for ChangeLAB
change at a glance, from reductionist to holistic science, launching into the
edge of chaos, creativity for a desirable future, creativity and experience of
time.
Change at a Glance
“Where there is no change, no growth, there is stagnation. But where there is action,
then the potential of the world is realised. Then it grows and blossoms.”
– R.A. Schwartz
Change and transformation is an ever-present quality of life. It manifests itself in different ways and
brings about unlike strains and challenges depending on its quality. I will here look at the scientific
approaches and theories that I feel give a language as well as framework for understanding the
dynamics of change and its relation to creativity. In a world where the dominant scientific paradigm
promotes the idea of stability and linearity, change and unpredictability is experienced as threatening.
However, as I will look at, seeing the world through lenses of holistic science, change and
transformation is simply an inherent dynamic of a living world in which creativity is what helps us cope
and or bring about transformation for desirable emergent futures. Johanna Macy says “we do not need
to protect ourselves from change, for our very nature is change… our ‘going to pieces’, however
uncomfortable a process, can open us up to new perceptions, new data, new responses…”44
I am inspired by Norie Huddle’s story of the caterpillar’s metamorphosis into a butterfly, and see this
as a beacon for my own journey and a beautiful metaphor for our changing world. Elisabeth Sahtouris
writes,
“After consuming hundreds of times its own weight daily as it munches its way through its ecosystem,
the bloated caterpillar forms its chrysalis. Inside its new biological entities called imaginal discs arise, at
fist destroyed by its immune system. But as they grow more in number and begin to link up, they begin
to survive. Eventually the caterpillar’s immune system fails, its body goes into meltdown and the
imaginal discs become the cells that build the butterfly from the spent materials that had held the
blueprint for the butterfly all along.”45
44
45
Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press p. 22 – 23.
Sahtouris, E. (2000) Earthdance – Living Systems in Evolution. Lincoln: iUniveristy Press Inc. p. 364-5
18
From Reductionist to Holistic Science
“What a strange machine man is! You fill him with bread, wine, fish and radishes,
and out come sight, laughter and dreams”.
- Nikos Kazantzakis46
Figure 1. Reductionist & Holistic Worldview
-Authors notes, Schumacher, Autumn 2006
Two Paradigm, One World
Holistic Science represents a different paradigm from conventional science in that it addresses
interconnections and relationships rather than linear functions and isolated measurable parts. I have
prepared the figure above to illustrate some core differences between the two approaches to science. I
consider that both hold elements and insights that are beneficial in the grand scheme of things.
However, it is my view that reductionist science is limited in its approach mainly because it draws
primarily on rational thinking coupled with an infatuation for analysing and identifying connections
between parts, hence, taking what I would like to call, a one-dimensional systems view. The meaning of
the word system comes from the Greek ‘synhistanai’, which means to place together.47
The Gnostics and the philosophers of the Antique era spoke to approaches, as for example the notion
of self-organisation, interdependency, and application of dialogues, that have resurfaced with modern
day Holistic science. This also held impetus during the renaissance with Neo-Platonism, but were
brought to silence during the reformation by Descartes followed by Burke and others who propagated
for a mechanistic, reductionist approach to science, and with that the Cartesian worldview was born.48
Based on the literature, I infer that a reductionist Cartesian science gave rise to an impulse to divide
and conquer, and propagated deconstruction and specialisation to attain clarity and to employ critical
thinking to analyse and gain understanding. This approach works well with isolated mechanical like
systems, but has its clear limitations when dealing with living organisms, cultural phenomenon,
ecosystems and dynamics where human beings are involved as for example an organisation. The
problem with a mechanistic approach to ecosystems and organisations, is that life is inherently
unpredictable and creative.49 In mechanistic thinking the whole equals the sum of its parts, if this was
46
As quoted in Roth, G (1997) Sweat your Prayers – Movement as Spiritual Practice. Dublin: Newleaf. p. 60
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo. p. 27
48
Bortoft, H. (2000) Open Evening at Schumacher College. Captain Production. Authors notes from lectures with Bortoft H.
& Goodwin, B. Schumacher College, Autumn 2006
49
Goodwin, B. (2007) Nature’s Due – healing our fragmented culture. Edinburgh: Floris Books. Authors notes from lectures
with Goodwin, B. & Harding, S. Schumacher College, Autumn 2006.
47
19
true, the emergence of life by way of an embryo would for example be impossible. From a holistic
science point of view, the whole is greater than the sum of its parts. Moreover, it is understood that
change in a part affect the overall dynamics of the whole. Bortoft points out that the whole is reflected
in the part and hence it is possible to understand the whole only through the part, and not vice versa.50
He asserts that the whole cannot be understood in isolation from the parts. The part is an integral part
of the whole, just like the whole encompasses the part. The part and the whole exist both independent
and inter-dependent of one another as if each aspect represents a whole in the part. This diverges
from the Cartesian view where the supposition is that we can understand the whole by connecting the
parts. The idea is that by stepping away from the parts we would eventually get a coherent view of the
whole, and vice-versa, everything and everyone is only piece in the great machinery of the world, hence
giving rise to a fragmented culture of specialisation with an appreciation for the quantifiable.51 In a
holistic perspective, the whole is continuously evolving and unfolding as if independent of time, matter
and space. Bortoft say, “In a moment of intuitive perception, the universal is seen within the particular,
so the particular instance is seen as a living manifestation of the universal”.52 Gregory Batson pointed
out that to work with the full implications of this we need to think anew, which is what actually Goethe
did.53
Interconnected parts becoming a whole?
Figure 2. Parts & Whole
Goethe and Science
“It is not easy for us to grasp the vast, the super colossal, in nature;
we have lenses to magnify tiny objects but not to make things smaller.”
- Goethe
Born in Germany in 1749, Goethe has been important in pointing the way for resurgence of a science
of qualities. In early years, Spinoza, the Gnostics as well as the thinkers of Antiquity inspired his
development. As he gained experience and maturity, nature and his relationships became his primary
teachers and sources of wisdom.54
Goethe spoke to the notion of being in nature, and to be part of nature to understand and create like
her, not to copy nature, but to assimilate and live as an expression of nature of which we are part.55
Goethe argued that the Newtonian science by applying single or isolated experiments forced nature
into artificial contexts seeking abstract unity. In contrast, Goethe sought an “empathic unity” with
nature by relying on what he called an “objective intuition” that he would bring forth whilst in nature,
50
Bortoft, H. (1996) The Wholeness of nature. Goethe’s Way of Science. Barrington: Lindisfarne Press
Goodwin, B (2007) & Authors notes from lectures with H. Bortoft Schumacher College, September 2006
52
Bortoft, H. (1996) The Wholeness of nature. Goethe’s Way of Science. Barrington: Lindisfarne Press p. 22
53
Batson, G (1972) Steps to an Ecology of Mind. San Francisco Chandler
54
Sverre Dahl writes about Goethe in Berg Eriksen, T (Ed.) (1998) Vestens Tenkere – Bind II Fra Descartes til Nietzshe.
Oslo: Aschehoug pp 321- 334.
55
Ibid.
51
20
participating with the phenomenon and letting it reveal itself to him. He said that the best way to
understand another living being or organism was to participate or interact through, for example,
observation, stillness and drawing, giving rise to a process in which the observer and the observed
would become one, distinct, yet not separable.56
Bortoft talked about how science was lead astray by the idea of being empirical, factual and objective.
Nothing has ever been objective, and as Goethe pointed out, it is impossible to make a separation
between the observer and the observed. Goethe presented a way of science that is in sharp contrast
with the Cartesian perspective which saw the universe as a machine, wherein the role of humans was to
impose order and use nature as a resource for their own good.57 Thus, with Goethe it became clear
that we are talking about two kinds of sciences, one addressing shallow, or one-dimensional systems of
quantifiable entities, and a holistic science of qualities within which there is place for the quantifiable.58
Tarnas conclude that Goethe led a “nature philosophy movement that strove to unite empirical
observation and spiritual intuition into science of nature more revealing than Newton’s, a science
capable of grasping natures organic archetypical forms.”59
Goethe’s approach is concrete and relies on all senses in describing or visualising a phenomenon.
Holdrege say that Goethe was looking for ways of becoming a “transparent instrument of knowing”.60
Goethe talked about applying theory in his observation of plants. In Greek, the word theory and theatre
comes from the same root, ‘theoria’, and it means ‘seeing’.61 Bortoft contend that Goethean science
facilitate a holistic mode of consciousness, he says, “Instead of being verbal, analytical, sequential, and
logical, this mode is non-verbal, holistic, non-linear and intuitive. It emphasises the sensory and
perceptual instead of the rational categories of the action mode. It is based on taking in rather than
manipulating the environment.”62
Goethean science prompts us to seek understanding of the whole of the phenomenon through a deep
appreciation of the parts. Goethe suggest that the idea or phenomenon, i.e. a tree, will reveal itself and
a deeper understanding will emerge in the imagination when assisted by sensory activities such as
drawing, observation and visualisation.63 The idea of wholeness is related to Goethes’ notion of an
“Urphenomenon” as a symbolic phenomenon and ultimate concept of life.64 He describes the
‘urphenomenon’ as the inherent purpose and life-force, a quality he called “Steigerung” perhaps best
translated as ‘qualitative rising’ in English. This stands in sharp contrast to Darwins theory of evolution
which describe a mechanical process of natural selection prompted from outside organism. For Goethe
the expression of the ‘urphenomenon’ is manifested through a qualitative rising to achieve selfrealisation, the desire of coming into being which spurs continuous evolution and growth, or as he
called it, a metamorphosis.65
56
Goodwin, B. (2007) Nature’s Due – healing our fragmented culture. Edinburgh: Floris Books. & Reason, P. & Goodwin, B.
(1999) Towards a Science of Qualities in Organisations – lessons from complexity theory and post-modern biology.
Concepts and Transformation 4:3, 1999. pp 281 – 317 John Benjamins Publishing Co p. 293
57
Pratt, V. Et. Al. (2000) Environment and Philosophy. London: Routledge. & Capra, F. (1997) Web of Life – A new
synthesis of mind and matter. London: Framingo. p. 19
58
Bortoft, H (1999) Open Evening. Schumacher College. Captain Productions
59
Tarnas, R. (1991) The passions of the western mind: Understanding the ideas that have shaped our worldview. London:
Pimlico, Random House. p. 378
60
Holdrege, C. (n.a.) Doing Goethean Science. The Nature Institute p. 31
61
Bortoft, H. (1996) The Wholeness of nature. Goethe’s Way of Science. Barrington: Lindisfarne Press p. 59
62
As quoted in Schilling, S. (2005) The Haunted City. Dissertation MSc in Holistic Science. Schumacher College p. 20
63
64
Ibid. p. 34
65
21
Thinking
“To find our calling is to find the intersection between our own deep gladness
and the world’s deep hunger”
- Fredrick Buechner
Descartes gave us the axiom, “I think therefore I am”, and Galileo told us that feelings, intuition, and
sensory experiences such as pleasure, pain were “secondary qualities”, whereas “primary qualities”
were the quantifiable aspects such as “mass, position, velocity, and momentum”.66 I feel it absurd that
thought, and particularly rational thought, is acclaimed of greater importance than other ways of
knowing. In many cultural traditions, including Native American, Chinese and Indian medicine thought is
connected to the element air. In a metaphorical sense it is as if modern society seeks to ground herself
through the element of air, whereas it might have been more reasonable to seek grounding through
our senses which are seen as connected to earth. Bohm points out that thought has become
indispensable as we cling to what we know and object to the unknown. He says, “we are irrational
because we have given thought supreme importance.”67 He concludes, “Thinking is the movement of
memory, which is experienced, knowledge store in the brain.”68 Parallel to this, Tolle argue that we are
addicted to thinking because we are identified with it. We derive our sense of self from the context and
activity of our minds. Somehow we seem to believe that we would cease to exist if we stopped
thinking.69
Different ways of Knowing
Jung did groundbreaking work articulating the innate ability of human beings to gain knowledge in
different ways. As a psychotherapist, Jung recognised that too much thinking was frequently what
brought his patients into trouble. He often encouraged his patients to engage in drawing, and saw that
many of them drew mandalas. Mandala comes from Sanskrit, and means circle. In Tibetan Buddhist
tradition a mandala is a round object used in meditation practice. Jung explored these further using
mandalas to foster insight and access his patients’ expressions of archetypes.70 He also began to draw
mandalas himself, and became aware that in order to understand or gain new insight, humans need to
access: emotions, senses, the intuitive and thought. If one of these four significantly overshadow the
others, psychological imbalance and illness can develop. Thus, Jungs mandala is a good illustration of
how holistic ‘being’ requires holistic knowing, thus the need for seeking insight and challenging our
perception in different ways.71
Otto Scharmer says, “At the root of the ecological divide is the separation between the senses and the
self.” He is referring to the aesthetics dimension of the ecological crisis. Scharmer notes, “The term
“aesthetics” comes from the Greek word aistesis, “sensual sensing”; it means activating all our senses.
Unless we rediscover our senses as gateways to the living field around us, we will never resolve the
environmental crisis”. Scharmer concludes, “Just as the social divide reflects the loss of the other on an
66
Reason, P. & Goodwin, B. (1999) Towards a Science of Qualities in Organisations – lessons from complexity theory and
post-modern biology. Concepts and Transformation 4:3, 1999. pp 281 – 317 John Benjamins Publishing Co p. 291 &
67
Krishnamurti, J & Bohm, D. (1985) The ending of time – Thirteen Dialogues Between Krishnamurti & Bohm. London:
Victor Gollancz Ltd. p. 62
68
Ibid. p. 67
69
Tolle, E. (1999) The Power of Now – a guide to spiritual enlightenment. New World Library. Novato: California p.18
70
Bierman, H (1992) Symbol Leksikon (Original title: Knaurs Lexikon der Symbole Droemersche Verlagsanstalt Th.Knaur
Nachfolger, Munchen 1989) Oslo: J.W. Cappelen Forlag A.S.
71
Harding, S (2006) Animate Earth – Science, Intuition & Gaia. Dartington: Greenbooks
22
interpersonal level, the ecological crisis reflects the loss of the senses as gateways into the living fields
of nature. People often fill the void left by the loss of the senses with consumption – which in turn
deepens the exterior manifestation of the ecological crisis”.72 With the figure below, I wish to bring
attention to four equally important ways of knowing, at the same time as pointing out the essence of
holistic science; namely that the part is a manifestation of the whole, whilst the whole is always greater
than the sum of its parts.73 I consider we can only embrace this fully in our lives by accessing the four
ways of knowing. Marion Woodman promotes this approach in the training courses offered by her
foundation (Box 1).
Box 1 Marion Woodman Foundation
Figure 3. Holistic Science
The foundation contends, “Psyche and some
are inseparable, and must be worked on
together to become conscious.” The
foundation offers a range of programmes
seeking embodiment of soul, and draws on
C.G. Jung understanding of the psyche, whilst
working with dreams and acknowledging on
the wisdom of the body. Woodman has been a
pioneer in working to awaken the feminine
consciousness. The work incorporate
exploration of “dreams, movement, voice,
masks, paining, general creative expression
and ritual.”
- Source: http://www.mwoodmanfoundation.org/
Perception & Cognition
Perception and cognition determine how we understand and experience the world around us, and are
essential premises for creativity. I believe many of us think of consciousness as the quality of cognition
held by an individual. However, consciousness comes from the Latin root con-sire which means
knowing together, hence consciousness is first and foremost a social phenomenon.74 I consider
consciousness to be the product of individual cognition, which is interpretation and construal nourished
by perception. Gregory Batson noted that a man could see several bats in an inkblot “if he is bat
mined”.75 Hence, we see the world by interpreting. Our perception and interpretation of the world
might be wrong, but we will nevertheless experience what we perceive as real, and in turn this will have
an effect on the world we are living in. Patrick Harper says; “our primary mode or perception is
imaginative. We simultaneously see and transform the world.”76
Abram says, “perception is a direct exchange between the organism and its world”. He contends that
the Gaia hypothesis demands a type of sensing which goes beyond perception of the physical and the
Cartesian epistemology. Abram notes, “perception is simply the communion and deep communication
between our organic intelligence and the creativity [of the living biosphere] that surround us”.77 William
Blake says, “We are lead to believe a lie, when we see with and not through the eye.”78 Chopra
consider that our understanding of the world around us is limited by our perception, and as a result we
72
Scharmer, O. C. (2007) Theory-U: Leading from the future as it emerges – the social technology of presencing.
Cambridge: Massachusetts. p. 100
73
74
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo. p. 283
75
Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press. p. 69.
76
Harper, P. (1994) Daimonic Reality – A fieldguide to the otherworld. Ravensdale; Pine Winds Press p. 88
77
Abram, D. (n.a.) The Perceptual Implications of Gaia. pp. 85 & 89
78
As quoted by Chopra, D (2005) Schumacher Lecture. Captain Productions
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create our realities through what we perceive to be true. During a presentation at Schumacher a few
years ago, Chopra said, “the world exists in us, we do not exist in the world. We manufacture our lives;
it is all about perception, how we see and how we choose to see. Creativity is dreams and we are
dreams, we are stardust!”79 I conclude with Goethe, Jung, Abram and Chopra that the world is a
discontinuity, experienced and continuously unfolding through the senses.
To Live is to Know
The Santiago theory of cognition developed by Humberto Maturana and Francisco Varela argues that
the ‘knower’ is an active and integrated part of the world, they conclude that “to live is to know”.80 Like
Chopra suggested, they consider we condition the world through our existence as we also are shaped
by the world, but they take this further with the concept of ‘autopoesis’, the essence of the Santiago
theory.81 Autopoesis refers to self-creation, a form of cognition that brings forth the world. The
Santiago theory suggests, “Living systems are cognitive systems, and living as a process is a process
of cognition. This statement is valid for all organisms, with or without a nervous system”.82 Maturana
says; “cognition is not a representation of an independently existing world, but rather a continual
bringing forth of a world through the process of living”.83 I consider that Maturana and Varelas’
concept of autopoesis has parallels to Goethe’s notion of an ‘urphenomenon’, which is as we saw,
internally motivated by a longing for self-realisation continuously bringing forth the phenomenon of the
living organism through the process of living.
A New Kind of Science
Russian born Physicist, Ilya Prigogine formulated the theory of dissipative structures that addresses
the dynamics of self-organisation. His theory shows that feedback loops are an essential dynamics for
all living organisms. Feedback loops may lead to instabilities in which self-amplifying feedback give rise
to new structures and emergent dynamics of ever-increasing complexity that in some miraculous way
brings order out of chaos.84 Prigogine talked about chemical reactions, but his findings have been
important in generating understanding of self-organisation and the relationship between order and
chaos in other disciplines. Many consider that the work of Ilya Prigogine provides a bridge between
natural and social sciences.85 Capra notes, “His vision was the coexistence of structure and change, of
stillness and motion”. He quotes Prigogine:
“Every great period of science has led to some model of nature. For classical science it was the clock;
for nineteenth-century science, the period of the industrial revolution, it was the engine running down.
What will be the symbol for us? What we have in mind may perhaps be expressed by a reference to
sculpture, from Indian or pre-Columbian art to our time. In some of the most beautiful manifestation of
sculpture, be it the dancing Shiva or in the miniature temples of Guerrero, there appears very clearly
the search for a junction between stillness and motion, time arrested and time passing. We believe that
this confrontation will give our period its uniqueness.”86
79
Chopra, D (2005) Schumacher Lecture. Captain Productions
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo p 260
81
Maturana H. & Varela F. (1987) The tree of Knowledge: Biological Toots of Human Understanding. London: Shambhala
Publications, Inc.
82
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo p. 262
83
As quoted in Premauer Marroquin, J.M. (2004) Goethean Science and Drawing as means of connecting the self to the world.
Dissertation submitted for MSc in Holistic Science. Schumacher College
84
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo. 179
85
http://en.wikipedia.org/wiki/Prigogine
86
As quoted in Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo. p. 175
80
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As Prigogine pointed out, life cannot exist on dynamic quality alone, it has no staying power and it
would mean utter chaos. Static patterns on the other hand can be paralysing, and lifeless. In Ilya Robet
Prisig points out, “Dynamic Quality, the quality of freedom, creates the world in which we live, these
patterns of static quality, the quality of order, preserve our world. Neither static nor dynamic quality can
survive without the other.”87
Nature is self-organising, only humans seem to live with the illusion of being able to impose structure
and control. As pointed to above, each system is a whole, as well as part of the whole. Or as Arthur
Koshler would say, ‘every system is a ‘holon’ - that is, it is both a whole and its own right comprised of
subsystems, and simultaneously an integral part of a larger system. Thus ‘holons’ form ‘nested
hierarchies’, systems within systems, circuits within circuits, fields within fields”.88 Open system selfstabilise and self-regulate by way of a continual flow of matter, energy and information. They evolve in
complexity as they may evolve, adapt, fall apart and reorganise themselves. This is creativity played out
in natural systems, emerging from a chaotic reality, and a function of feedback guiding relationships,
which is how life on earth has evolved, ever changing and self-organising by way of emergence.89 Gaia
theory has been important in helping us to understand the underpinning dynamics of feedbacks in
complex systems.
Gaia Theory
The Gaia Theory was developed by James Lovelock. It presents Gaia, Planet Earth, as a self-bounded,
self-generating and self-perpetuating system. It is autopoetic. And with this, Lovelock has shown that
self-organisation is a property of the biosphere. Gaia Theory is founded on complexity, and suggests
that it might be more effective to look at the context of a problem rather than the problem itself. This is
the only way we can understand the dynamics of phenomenon.90 Tickell reminds us that already by
1785 within the Western tradition, a Geologist James Hutton already had written about the Earth as a
self-regulating system. Around the turn of last century the Russian physicist “Vladimir Vernandsky saw
the functioning of the biosphere as a geological force, moving, processing and recycling billions of tons
of surface materials every year.”91 Finally, James Lovelock and Lynn Margulis developed the Gaia
Hypothesis addressing the Earth as a self-regulating living organism. The author William Golding
suggested it be called Gaia, named after the Greek goddess of the earth.92 Acceptance of the Gaia
hypothesis and later Gaia Theory, represented a fundamentally new paradigm and different approach
to understanding the complexities of Planet Earth that puts reductionist science to the test. As a
consequence there may be an imminent shift in scientific paradigm underway, challenging values as
well as perceptions.93 Abram speaks to this shift in perception promoted by the Gaia Hypothesis,
stating, “The entire range of living matter on Earth, from whales to viruses, and from oaks to algae,
could be regarded as constituting a single living entity, capable of manipulating the Earth’s atmosphere
to suit its overall needs and endowed with faculties and powers far beyond those of its constituent
parts.”94
87
Prisig, R.M. (1991) Lila – An Inquiry into Morals. London: Black Swan p. 146
Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press.p. 42 & Bortoft, H. (1996) The Wholeness of
nature. Goethe’s Way of Science. Barrington: Lindisfarne Press
89
Harding & Goodwin, Authors’ notes from lectures Schumacher College 2006 - 2007
90
Briggs, J & Peat, F.D. (1999) Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change. New York:
HarperCollinsPublishers
91
92
93 Ibid.
94 As quoted in Abram, D. (n.a.) The Perceptual Implications of Gaia p. 75
88
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Launching into the Edge of Chaos
Chaos, Eros & Gaia
In Greek mythology, Chaos was considered the source of creation and creativity. Dimitriov says, “from
this space the universe was born.”95 Hesiod speaks to the Orphic trinity of Chaos, Gaia and Eros. Chaos
represents the cosmic source of initiative and new life that keeps us alert and ready to act. Gaia is
matter, the form of the universe and living sprit of the physical world. Finally, Eros represents the
creative impulse, relationship and the spiritual medium connecting Chaos and Gaia.96 This trinity
illustrates both emergent and transformational qualities reflected in the web of relationships and
networks that influence and bring about the movement within and through living organisms.
Anima Mundi – or the soul of the world, is the ancient Greeks’ name for Gaia. Harding quotes Plato
noting: “This world is indeed a living being supplied with soul and intelligence… a single visible entity,
containing all other living entities.” Harding says that for the Ancient Greeks, “Anima Mundi was
feminine, and permeated every aspect of the material universe.”97 In our modern fast paced lifestyles
focusing on quantities we seem to have lost a sense of the soul of the world. By bringing our attention
into reconnecting with the creativity in nature around us, we may also reconnect with the soul of the
world. Goodwin concludes, “with the convergence of nature and culture in biology we may be seeing a
return of the soul of the world through living nature, and form as an expression of Eros, of creative
relationships.”98 Briggs and Peat note, “Making a pact with chaos gives us the possibility of living not
as controllers of nature but as creative participators.”99 However, chaos is in every sense a double
edge sword. Chaos is the change-maker that brings us creativity, but also exposes us to qualities of the
troubling trickster. Chaos is a destroyer and creator, a shaman and a wizard. “He is Hermes the shapeshifter, Prometheus the fire bringer, Dionysus the God of intoxication and destruction.”100 We may need
courage as well as faith to engage fully with the mist of this source of life and creativity.
Chaos Theory of Wholeness
French physicist and philosopher Jules-Henri Poincaré is a key theorist who has developed the chaos
theory of wholeness. He made his scientific discoveries at the end of the 19th century in a quest to
make the mechanistic approach more comprehensive. Poincaré conceptualised the difference between
chaotic wholeness (i.e. a weather system) and symbolic wholeness (i.e. the ying-yang symbol). But it
was only in 1964 when the meteorologist Edward Lorenz managed to map the chaotic patterns of
weather in the so-called Lorenz attractor that the chaos theory gained widespread interest.101 Lorenz
identified the concept of a strange attractor, cause unpredictability within a system, and the root of
creativity. Based on his findings, Lorenz asserted “..that small changes in the initial conditions can lead
to unpredictable consequences even though everything in the system is causally connected in a
perfectly deterministic way.” He went further with a now famous metaphor that “a butterfly flapping its
wings in Iowa [can] lead, via the strange dynamics of the weather, to a typhoon in Indonesia.”102
Hence it is impossible to predict the consequences of a small disturbance which is a signature of
Dimitrow, V. www.zulenet.com/vladimirdimitrow/pages/complexthink.htm (Search March 2007)
Abraham, R. H. (1994) Chaos, Gaia & Eros – A Chaos Pioneer Uncovers the Three Great Streams of history. New York:
HarperCollins Publishers. p. 2
97 Harding, S. (2006) Animate Earth. Dartington: Green Books. p. 24
98 Goodwin, B. (2007) Nature’s Due – healing our fragmented culture. Edinburgh: Floris Books
99 Briggs, J & Peat, F.D. (1999) Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change. New York:
HarperCollinsPublishers. p. 8
100 Ibid pp. 9 - 10
101 Ibid. pp.150 – 157
102 Reason, P. & Goodwin, B. (1999) Towards a Science of Qualities in Organisations – lessons from complexity theory and
post-modern biology. John Benjamins Publishing Co. Concepts and Transformation 4:3, 1999. pp 283
95
96
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deterministic chaos. Lorenz looked at weather patterns, but as we know, most natural processes are at
least as complex as the weather, and life itself is fundamentally unpredictable.103 I conclude that the
Lorenz attractor makes it perceptible that every individual has a distinguished and potentially
enormous influence in the entangled feedback loops of life. Peat & Briggs notes, “although we may not
have power of controller in the traditional sense, we all possess the ‘butterfly power’ of subtle
influence”.104
Chaos addresses systems in transformation. These are identified as “bifurcation points” or points of
departure. Changes are amplified through feedback loops, which may link with other fluctuations until
they interconnect and create.105 Negative feedback loops resist change where as positive feedback
loops promote change.106 When several positive feedback loops couple together this can have
unimaginable effects on the environment and can manifest in the so-called ‘butterfly effect’ where a
butterfly flapping its wings can effectuate a tornado at the other side of the world. This is also a real
challenge with climate change, we do not know at what point or in what way positive feedback loops
may couple and manifest in disastrous consequences. Coupling of feedback loops of weather patterns
is an example of self-organising chaotic systems. The creative expression that rises from chaos
emerges into form is a dynamic we can see both in nature and when people work together.
Interestingly, it seems chaos calls for stillness and periods of incubation to muster energy for strange
attractors and creative movement through self-organisation and new ideas. We can learn a lot about
the fluctuating pulses of chaos by looking to the patterns of living systems around us. Examples of such
patterns are a forest, an ant colony, or closer to home, the dynamic character of our bodies. It is
important to see them as dynamic patterns and not to try to capture a snapshot of them, or merely
treat them as objects of study. These patterns are evolving subjects.107
The Psychiatrist Kazimierz Dabrowski called chaos ‘positive disintegration’, equating this process to
dying, whereas Erwin Laszlo calls it ‘exploratory self-reorganisation’.108 Chaos is not only about
unpredictability and possibility, but also about paradoxes and ambiguity. It seems our main
responsibility is simply to accept these open gaps and not to seek order and predictability in what
cannot be controlled. In this way chaos can be the best teacher in letting go; accepting that what is or
will be, simply is, even if we cannot understand it. We will never know everything, and the missing hole
will always be a missing piece of information. Briggs and Peat say,
“Chaos theory teaches us that we are always a part of the problem and that particular tensions and
dislocations always unfold from the entire system rather than from some defective “part”. Envisioning
an issue as a purely mechanical problem to be solved may bring temporary relief of symptoms, but
chaos suggest that in the long run it could be more effective to look at the overall context in which a
particular problem manifest itself.”109
Chaos teaches us to let go, to accept limits and to celebrate the mystery and magic of emergent
properties and synergies and synchronicities that manifest themselves through relationships. This calls
for faith and hope to remain grounded. I contend that, life is chaos, chaos is nature, and the order of
the universe is chaos. The best we can do is to learn to go with the “flow” so the speak, is to accept
Briggs, J & Peat, F.D. (1999) Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change. New York:
HarperCollinsPublishers, pp. 31 – 34
104 Ibid. pp. 37 & 161
105 Ibid. p. 14-15
106 Harding, S. Lectures Schumacher College, October 2006
108 Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press. p. 45.
103
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that change is inevitable as it is the only thing we know for sure will happen. Our biggest mistake is
therefore to hold on to an idea of a determinable predictable future instead of learning to live in
harmony with an emergent future.
Organisations as Complex Adaptive Systems
The best in art and life comes from a centre something urgent and powerful
an ideal or emotion that insists on its being.
From that instance a shape emerges and creates its structure out of passion.
If you begin with a structure, you have to make up the passion, and that is very hard to do.
- Roger Rosenblatt & adopted by Meg Wheatley
In organisations there is normally a framework of order for how people work and operate. However,
obviously no day is the same due to fluctuations for the individual, external influences, even the
weather may affect the workings of a day. Stacey and Shaw contend complexity theory is relevant for
organisations as they are “non-linear, network feedback systems and it therefore follows logically the
fundamental properties of such systems should apply to organisations.”110 More specifically, they label
organisations as complex adaptive systems. Pascale et. al. note, “A complex adaptive system is
formally defined as a system of interdependent agents that act in parallel, develop “models” as to how
things work in their environment, and most importantly, refined those models though learning and
adaptation.”111
Box 2. “The Complexity and Management Centre at the Business School of the University of
Hertfordshire was set up in 1995 to create links between academic work and organizational practice using a
complexity perspective, in which the inevitable paradoxes and ambiguities of organizational life are not finally
resolved but held in creative tension.” Patricia Shaw, Douglas Griffin & Ralph Stacey have published several
books on the topic of complexity theory and emergence within organisations.112 They bring attention to how
individuals in an organisation or a team cope with the reality of uncertainty and emergent processes as they
create futures together. They take a participatory approach where dialogues, role-play and action enquiry are
some approaches propagated in the work of the centre.113
The Pari Center for New Learning is Directed by F. David Peat, and is dedicated to the principle of
“spirit of place”, seeking to foster an interdisciplinary approach linking science, the arts, ethics and spirituality to
place. The Pari Centre takes an approach of simplicity and “gentle action” which means to allow an action to flow
“from the whole of a situation rather than being imposed from outside”. Pari looks at natural systems,
organisations and social dynamics, “through the lenses of chaos and complexity theory”, to promote a
recognition of how control futile as there will always be missing information which inhibits the predictability often
looked for by organizations and policies.114
The Complexity and Management Centre at the Business School of the University of Hertfordshire
http://perseus.herts.ac.uk/uhinfo/prospectus/faculty_bs/uhbs/research/complexity-and-management-centre/complexityand-management-centre_home.cfm
111 Pascale, R.T. et. al. (2000) Surfing the Edge of Chaos – The laws of nature and the laws of business. New York: Three
Rivers Press p. 5
112 The Complexity and Management Centre at the Business School of the University of Hertfordshire
http://perseus.herts.ac.uk/uhinfo/prospectus/faculty_bs/uhbs/research/complexity-and-management-centre/complexityand-management-centre_home.cfm
113 Stacey, R, Griffin, D. & Shaw, P. (2000) Complexity and Management: Fad or radical challenge to systems thinking?,
London: Routledge
114 Pari Center http://www.paricenter.com/center/ & www.fdavidpeat.com
110
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Complexity theory is based on the notion that everything is related to everything else. Nature is
understood as a complex network of nested systems in which humans play an integral part of the
whole. The relationship between the parts and the whole is a dynamic and ever-changing process. As
discussed above, it is impossible to predict the behaviour of complex systems, but we may identify
dominant patterns within the dynamic relation between the parts, and between the parts and the whole.
Complex systems, such as a healthy organisation, apply a holistic process in their work and have a
richness of interconnections that gives rise to unpredictability and physical intricacy.115
The Lorenz attractor illustrates the natural process of creativity by showing how complex system is an
iterative process wherein the consequences of the ever changing convergent and divergent patterns
emerge, leading to fluctuations between order and chaos giving rise to dynamism, conversation,
movement and engagement.116 Scholars in creativity, such as de Bono, Amabile and Michalko, have
explored this process, though using a very different language. A core aspect of creativity is to move
from prediction to exploration. Experience has taught us that prediction is unreliable within a complex
system, but we may work with the forces of the system to move towards desirable emergent futures.
Emergence is an underlying dynamics of iteration that facilitates co-creation. It is as if the whole reveals
it self and continuously unfolds through a process of self-differencing117 wherein the system or
organism changes in order to remain itself.118
Peak performance at the Edge of Chaos
Order and chaos live together, and are in optimal harmony at the edge of chaos. It is also here that
chaos dissolves order and unpredictability is at its greatest giving rise to creativity and emergent
change. Goodwin notes that life itself is at its most creative and dynamic at this edge.119 The edge of
chaos is a state with just enough order to give rise to patterns, but not so much as to slow their
adaptation and learning. Dimitrow says, “chaos involves all the spectrum of potential dynamic orders
that might emerge; therefore, it is opposite to disorder. Chaotic dynamics of life’s manifestation are
impregnated with creativity. To ‘improve’ or ‘fix’ chaos, with an absurd intent to turn it into order,
means to eradicate its creative potential and thus kill the life.120”
Evolutionary Biologist Stuart Kauffman tested the dynamics of autopoetic networks of living organisms
and came to the conclusion that the optimum stage for the unfolding of life was at the edge of chaos
because the chaotic regime brings too much instability, and in the regime of order there would be too
little activity. Capra notes, “Kauffman’s central hypothesis is that living systems exists in that boundary
region near the ‘edge of chaos’… because these may be best able to coordinate complex and flexible
behaviour, best able to adapt and evolve.”121
Based on the above arguments it seems that a very good strategy for organisations to aim for is
performance and operation at the edge of chaos that gives rise to changing yet adaptive patterns of
behaviour. Goodwin and Reason speaks to this notion, and argue that edge of chaos can help an
post-modern biology. Concepts and Transformation 4:3, 1999. pp 281 – 317 John Benjamins Publishing Co. p. 287
116 Ibid. p. 288
117 Self-differencing is a terms used by Henry Bortoft to describe the process of an organism is a state of constant
emergence and change in order to remain itself. This can be exemplified with the continuous process of cell division, growth
and death in our bodies in order for our organism to remain intact and itself. Bortoft, H. Authors’ note from lectures
Schumacher College, Autumn 2006.
118 Bortoft, H. Authors’ note from lectures Schumacher College, Autumn 2006.
120 Dimitrow, V. www.zulenet.com/vladimirdimitrow/pages/complexthink.htm
121 Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo. p. 198
115
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organisation realise its inherent strength by unlashing creative potential, whilst its individuals and
teams learn to be active participants in an unpredictable world. 122
Goodwin and Reason put forward six principles of complex emergent wholes applied to social and
organisational life. The culmination of the principles is that complex adaptive systems are emergent and
self-organising, ever changing in synchronicity with time and space. 123 Contrary to a common desire
for equilibrium in our society, a state of equilibrium is not a favoured quality for a complex adaptive
system as it means reduced resilience to change. On the contrary, the optimal for creative adaptation
and development is the edge of chaos from where the emergent and self-organising qualities evolve.124
These principles are fundamental to understand and construct a creative process. By recognising the
nature of complex systems we will be better equipped to face the social and organisational challenges
presented to us, such as climate change and environmental degradation. The caveat is that the
greatest challenge is to change the way we think in order to holistically understand these complex
systems.
With the approaches suggested in chapter 4, I wish to help foster dynamic situations for individuals
within groups that generate acceptance to working towards and at this edge of chaos. This requires
resilience, flexibility and not the least, an open heart.
A Chaordic Reality
Stacy and Shaw have done pioneering work looking at organisations as complex adaptive systems.
They have identified three broad types of organisational behaviour; stable equilibrium, unstable
behaviour, and bounded instability. The systems correspond with the phases of chaos, chaord and
control. The term Chaord125 is a combination of the words order and chaos representing a state of selforganisation, adaptive and emergent properties within a given framework. I see it as equivalent to the
edge of chaos, in other words the phase where chaos and order meet, bringing about original and
potentially constructive dynamics and synergies.
A stable equilibrium is often experienced as rigid and paralysing for employees, as they commonly find
they have little room for taking initiative. Organisations of order may function, but are rarely thriving.
On the flipside, many organisational cultures may find this dynamic compelling as it follows old school
management style and is perceived as safe and predictable. However, when change happens in such
systems it is experienced as highly disruptive, and what is more, change will commonly be prompted
from the outside. On the other end of the spectrum, unstable behaviour may play out as chaotic and
destabilising for employees. Many may experience great levels of anxiety and conflict is more likely to
erupt. Escalation of unstable behaviour may be subject to further bifurcation as a consequence of
emergent shadow structures and anarchic behaviour.126 Internal change occurs continuously in
systems of unstable behaviour. Nevertheless change imposed from the outside may be experienced as
troublesome, and may cause breakdown as the system is already saturated with fluctuations from
within. Finally, a system of bounded instability is to be found in the chaordic spectrum. Goodwin and
Reason along with Stacey, Shaw and Wheatley speak to how the combination of the qualities of chaos
and order brings about optimal conditions for a dynamic system in which there is space for employees
post-modern biology. Concepts and Transformation 4:3, 1999. pp 281 – 317 John Benjamins Publishing Co.
123 Ibid.
124 Pascale, R.T. et. al. (2000) Surfing the Edge of Chaos – The laws of nature and the laws of business. New York: Three
Rivers Press p. 5
125 Chaord & Chaordic are registered trademarks of The Chaordic Commons. http://www.chaordic.org/legal.html
126 I.e. subgroups, in society this may be expressed as emergence of an underground culture or a black marked economy
122
30
to take initiative. This system is flexible within, yet bounded in quality, thus giving the basis for a
nurturing and creative milieu. The internal dynamic quality of the system also makes it adaptable and
receptive to change both from within as well as to change prompted from outside.127 I contend that
bounded instability gives the optimal conditions for organisations to work in accordance with a vision
and dynamics of the future as it emerges.128
© Charodic Commons
I consider that a chaordic state is a state of bounded instability which is highly conducive to creativity
and innovation in that it gives room for ideation and new patters yet provides a firm frame of reference
for the innovation process. Organisational change experts such as Margaret Wheatly, Peter Senge and
Otto Scharmer speaks to application of complexity and chaos though self-organisation, autocatalytic
and non-linear adaptive systems as the dominant approaches in change management for a more
sustainable future. They voice that systems of bounded instability arise and thrive at the edge of
chaos.129
Reason, P. & Goodwin, B. (1999), Wheatly, M. J. (2005) Finding our Way - leadership for an uncertain time. San
Fransisco: Berrett-Koehler Publishers, Inc.,
128 Scharmer, O. C. (2007) Theory-U: Leading from the future as it emerges – the social technology of presencing.
129 Wheatly, M. J.(2005) Finding our Way - leadership for an uncertain time. San Fransisco: Berrett-Koehler Publishers, Inc.
& Stacey, R, Griffin & Shaw (2000) Complexity and Management: Fad or radical challenge to systems thinking?, London:
Routledge
127
31
Box 3. Examples of Chaordic Network Organisations
The organization the Chaordic Commons seeks to work with and foster application of new concepts of
organization that result in “more equitable sharing of power and wealth, improved health, and greater
compatibility with the human spirit and biosphere.” This is a web based chaordic membership based voluntary
capacity building network organization promoting new ways of thinking, leading transformative organizational or
institutional change, learning and action.130
Peter Senge is the founding chairman of the Society for Organisational Learning (SoL). A non-for
profit, intentional learning community and member-governed society composed of organisations, individuals, and
local SoL communities around the world. SoL aim to serve as a space in which “individuals and institutions can
create together that which they cannot create alone.”131 Otto Scharmer, the man who articulated the U-Theory,
is one of the academic beacons of SoL.
Pioneers of Change seeks to foster “understanding, capacities and relationships needed by younger
practitioners committed to stepping forward and creating the change they want to see in the world.” The core
principles of Pioneers are: “Be yourself, Do what Matters, Start now, Engage with others, Never stop asking
questions.”132
The analysis above point to the benefits for an organisation in drawing on the dynamics of the edge of
chaos to optimise resilience to change and harness creative potential. In the practical component of
this dissertation I seek to promote experiential knowledge of how creativity is born from chaos, thus
aiming to bring a group to the edge of chaos without moving too far into the realm of the chaotic.
Networks for Change
Margaret Wheatly speaks to the need for working with networks within and between communities to
bring about change.133 Formentini looks at signals of change highlighting a trend of moving from an
individually focused society to one of community.134 She contends that this may translate into stronger
networks, and improved ability to cooperate to bring about sustainable solutions, describing a way of
working that is not unlike the dynamics that can be witnessed for the emerging transition town
movement in the UK.135 This is about collective creativity, energised by the insight of individuals.
Bottom up, network-based approaches seem to have the ability to mobilise for significant flow of ideas
and processes. According to the Catalan sociologist Castelles, the network is the most ancient form of
social organisations. He suggests they are structures without a centre, connected and interrelated, yet
each aspect is a flexible in relation to and autonomous of network. The emergence of networks as a
construct of society has been reinforced by new information and communication technologies, and is
now a crucial element in modern-day social structures.136 Capra asserts that networks “have become
one of the most prominent social phenomena of our time… and a critical source of power”.137 The
kind of globalisation we have seen in the past decades is closely linked with the rise of the network
Chaordic Commons http://www.chaordic.org/
Society for Organisational Learning http://www.solonline.org/
132 Pioneers of Change http://pioneersofchange.net/
133 Wheatly, M. J. (2005) Finding our Way - leadership for an uncertain time. San Francisco: Berrett-Koehler Publishers, Inc.
134 Formentini, A. (2005) Signal of Change in the Transition towards sustainability – bottom-up innovation cases for the
creative society. PhD Industrial Design and Mulitmedia Communication. Politechnico di Milano. INDACO Department
135 Transition Network (2007) Transition Initiatives in the UK and Ireland - becoming a Transition Town / City / District /
Village / Community & www.transitiontowns.org, www.transitionculture.org, www.carbonrationing.org.uk, www.cred-uk.org
136 Castelles, M. (1996) The rise of the network society. Oxford: Blackwell
137 Carpa, F. (2002) The Hidden Connections. A Science for sustainable living. London: Harper Collins.
130
131
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society. Cyberspace is used to generate and diffuse information and brings people together
independent of geography and culture. Networks can be a powerful way to structure and organise
society and cooperation, but should not be mistaken for the energy or the motivation that can drive a
process forward. I conclude, networks are simply a construct or dynamic that can foster outreach,
involvement and mobilise action, but they are not in themselves the action. I have included a few
examples of interesting network-supporting organisations that aim to support community action for a
more sustainable future (Box 4.)
Box 4.
Margaret Wheatly co-funded the Berkana Institute, which endeavour to connect and support leaders around
the world to enhance emergence of nurturing networks to strengthen communities by “working with the wisdom
and wealth already present in its people, traditions and environment.” The Berkana institute organises so-called
learning journeys where the objective is to be immersed different learning context to enable lateral and radically
different thinking patterns. The idea is to enable a deep questioning of prevailing worldviews and to encourage
virtuous cycles of innovation by bringing attention to how pioneering leaders and communities are already
creating the change they wish to see in the world.138
The Pachamama Alliance is inspired by the way of life and wisdom of indigenous people of South America,
work with the notion that our modern worldview is a "dream" and have urged us, for the sake of all life, to
"change the dream of the North." They seek to facilitate this change through symposiums and training efforts of
individuals to become change agents to “awake the dreamer”.139 The UK organization Be The Change in the UK
works with the alliance and promotes a similar mindset yet injecting more of the European ethos. Both initiatives
seek to prompt change for a more sustainable future through creativity, dialogue and individual initiative.140
The Shambhala Institute is an international network of people, projects, and programs actively engaged in
the organizational and societal challenges of our time. The Institute seeks to foster movement and activity
towards more enlightened communities to facilitate a more sustainable future. They do this by creating powerful
environments of learning, dialogue, practice, and community.141
Creativity for a Desirable Future
"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond
measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be
brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your
playing small does not serve the world. There is nothing enlightened about shrinking so that other
people won't feel insecure around you. We are all meant to shine, as children do. We were born to
make manifest the glory of God that is within us. It's not just in some of us; it's in everyone. And as we
let our own light shine, we unconsciously give other people permission to do the same. As we are
liberated from our own fear, our presence automatically liberates others."
- Marianne Williamson
As discussed above, Greek mythology sees creativity as a child of chaos, as an emergent property of
adapting and responding to unpredictability and change.142 Dimitrow equate the creative process to
coming out of a silent emptiness similar to that of being in the eye of a tornado;
Berkana Institute http://www.berkana.org/
Pachamama Alliance http://www.pachamama.org/
140 Be the Change http://www.bethechange.org.uk/
141 http://www.shambhalainstitute.org/about.html
138
139
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“at the core of our inspired wholeness; it has spontaneity and power.”… “It is like leaving ourselves in
the hands of the existence, in the hands of the unlimited self-organising impetus, which finds and
expression through our skills, through our emotions, intelligence and spirit. As if our bodies cease to
be only ours. As if our feelings and thoughts start to resonate with a rhythm different than the rhythm
of the everyday life, and our whole nature begins to follow what the existence ‘longs’ for, and to
transform, almost unnoticeably, into a silent watcher of our own unfurling creativity.”143
The Indian concept of Maya is about the ‘magic of creative power’ by which the world is created in the
divine play of Brahman. They myriad of forms which we can see are brought into being, Capra says “by
the divine actor and magician, and the dynamic force of the play is karma, which literally means
action.”144 The psychiatrist David Schainberg point out that mental illness occurs when the self
becomes to rigid and without the ability to respond creatively to the world. 145 Whereas Margaret
Wheatly concludes, “You cannot be creative if you refuse to be confused”.146 Briggs and Peat
summarise the about the inhibitions many of us experience with regards to expressing our creativity,
and point to the connection with chaos theory;
“We lose it in our obsessions with control and power; in our fear of mistakes; in the constricted grip of
our egos; in our fetish with remaining with within comfort zones; in our continuous pursuit of repetitive
or merely stimulating pressure; in our restricting our lives to the containers of what other people think;
in our adherence to the apparent safety of closed orders; and in our deep-seated belief that the
individual exist in an irreducible opposition to others and the world ‘outside’ of self”… “Chaos theory
teaches that when our psychological perspective shifts - through moments of amplification and
bifurcation – our degrees of freedom expand and we experience being and truth. We are then creative.
And our true self lies there.”147
Receptiveness to change requires faith in creativity and an ability to trust the unspoken through
intuition, senses and feelings. These elements are the key means of expression to ride the wave of
transformation and gain lessons in life from the future as it emerges. The creative process is a process
of surrender; it starts in darkness, and pulses gradually in leaps from there. Creativity is fused by the
magic of emergence. It is about allowing for something to come into being of its own accord: a blink
within time, when something new comes into view. We do not know whether it was there before and we
just did not pay attention, or whether it arose from anew. But we do know that the new is undeniably
there, perhaps fragile, maybe strong, nevertheless unquestionably present. Joseph Campbell
summarises, “follow your bliss and doors will open where there were no doors before.”148
Some contend that creativity flourishes with freedom of constraints from experience and expertise
because experts often have preconceived notions of boundaries, procedures and possibilities.
Henceforth, processes that requires creative input may benefit from participation from non-experts and
individuals who have no former experience in the given area. This view promotes the idea of work-swap
and co-creation with multidisciplinary project teams. Creativity demands non-judgement and acceptance
of mistakes. Allowing events to unfold, whilst letting go of control and preconceived ideas of direction
Dimitrow, V. www.zulenet.com/vladimirdimitrow/pages/complexthink.htm
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Framingo. p. 283
146 Margaret Wheatly www.megwheatly.com
148 As quoted in Cameron, J (1994) The Artist’s Way – a course in discovering and recovering your creative self. London:
Pan Macmillan Ltd. p. 194.
143
144
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and course of action.149 Following on from this, ambiguity is an essential aspect of the creative process
as it leaves us open to different interpretations helping us to not get stuck in any one pattern of
approaches.150 Krishnamurti and Chopra conclude that creativity comes from uncertainty. Chopra
contend that the more we do not know, the more creative we are. As we are living in highly uncertain
times we can only hope this will spur infuse of collective creativity.151
Creativity as a Concept
“A remarkable gift, creativity. No other aspect of the human psyche is so powerful. It can exist unused
for many years and then, with the right encouragement, creativity can be expressed, improving our
lives and the lives of everyone around us.”
– Diane Elsy
Creativity is something novel that has a potential to become useful. I am interested in the process to
facilitate creativity, and not the notion of creativity as such. I believe that individual and group creativity
can be triggered and expressed in myriads of ways. Thus, to me creativity is not about artistic
expression or work, but about the ability to manifest a novel idea or process, whereas innovation is
about bringing this expression into being.
In a developmental view, creativity is commonly defined as ideas that are novel and have potential
value. De Bono affirms that constructive creative ideas are those that are logical in hindsight. Creativity
plays an important role in the collection of information, forming a hypothesis, developing new ideas,
and in building on initial proposals. De Bono says that “at the simplest level ‘creative’ means bringing
into being something that was not there before”.152 Amabile suggests that in business “to be creative,
an idea must also be appropriate and actionable”, thus “creative thinking refers to how people
approach problems and solutions – their capacity to put existing ideas together in new
combinations”.153 Building on this, Frans Johansson assert, “creative ideas are new… [and] valuable”,
and that “innovative ideas are realized”.154
Csikszentmihalyi sees a close relationship between vision and creativity. He proposes that creativity is
“the process by which new objects and new ways of doing things come into being”.155 Indeed, vision is
a key motivating factor for creativity, and is paramount in working towards a more sustainable future.
Creative achievements seem to be connected with having a vision, which may be impelled by, as
Amabile emphasises, the intrinsic motivation of individuals.156 Rickards point out that intrinsic
motivation is often enforced through extrinsic motivation fostered by way of creative leadership.157 I
consider that a vision that prompts creative ideas promotes flow. Csikszentmihalyi notes “flow occurs
De Bono, E. (1992) Serious Creativity. London: HarperCollinsPublishers, Amabile, T.M., (Sept.-Oct. 1998) How to kill
creativity. Harvard Business Review, p. 77-87.& Johansson, F. (2004) The Medici Effect – Breakthrough insights at the
intersection of ideas, concepts & cultures. Boston: Harvard Business School Press.
151 Krishnamurti, J & Bohm, D. (1985) The ending of time – Thirteen Dialogues Between Krishnamurti & Bohm. London:
Victor Gollancz Ltd & Chopra, D. (2005) Schumacher Lecture. Captain Productions.
152 De Bono, E., (1992) Serious Creativity. London: Harper Collins Publishers
153 Amabile, T.M., (Sept.-Oct. 1998) How to kill creativity. Harvard Business Review, p. 77-87
154 Johansson, F. (2004) The Medici Effect – Breakthrough insights at the intersection of ideas, concepts & cultures.
Boston: Harvard Business School Press, pp 14-15
155 Csikszentmihalyi, M. (2003) Good Business – Leadership, flow and the making of meaning. London: Hodder &
Stoughton p. 148
156 Amabile, T.M., (Sept.-Oct. 1998) How to kill creativity. Harvard Business Review, p. 77-87
157 Rickards, T. (1991) ‘Innovation and creativity: Woods, trees and pathways’. R&D Management. Vol 21 No 2, pp 97-108.
149
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when both challenges and skills are high and equal to each other.”158 A vision is a process of sharing
aspirations, and arguably an essential element in creative leadership. The Natural Step has developed
ain interesting framework for business (Box 5.).
Box 5. The Natural Step is an international non-for profit organization seeking to propel a commitment
and competence in sustainability by using “the Natural Step Framework as a systems approach for dialogue and
decision making”, assisting business an organizations to contribute to more sustainable practices and
civilizations. The organization has developed a four step conditions for sustainability to be adopted by all
stakeholders in society. The Natural Step illustrate these conditions as follows159:
Figure 3: The Natural Step Framework ©
Underpinning this plan, the organisation suggests various elements for organisational change and involvement
for sustainability, which resonate with the creative leadership literature. In summary, the elements include a
focus on personal motivation, establishing an open system of change, which could help “revitalising the capacity
of groups to think together”. Their approach is to work towards consensus building whilst promoting a culture of
“yes-and” rather than “no-but”. They seek to build on the insight and creativity of organisational partners as
well as drawing on the strengths within professional network.160
Creative Leadership
Leading and working at the edge of chaos requires bold leadership, or as Richards says, creative
leadership.161 The creativity assists evolution of novel content, whereas leadership is about facilitating
constructive processes. Senge takes a broad stance to leadership seeing it as “the capacity of a
human community to shape its future, and specifically to sustain the significant processes of change
required to do so”. He draws on Peter Drucker’s statement that “Leadership is Vision”, noting that
“leadership actually grows from the capacity to hold creative tension, the energy generated when
people articulate a vision and tell the truth about current reality”.162 It is a fact that some organisations
Csikszentmihalyi, M. (2003) Good Business – Leadership, flow and the making of meaning. London: Hodder &
Stoughton, p. 47
159 http://www.naturalstep.org/com/What%5Fis%5Fsustainability/
160 Bradbury, H., (2003) Catalysing action and organisational change – the role of personal and group (re)vitalisation in
sustainability initiatives. In Ants, Galileo, & Gandhi – designing the future of business through nature, genius and
compassion. Waage, S. Ed. Sheffield: Greenleaf Publishing Ltd
161 Rickards T. & Moger, S. (1999) ‘The development of benign structures: Towards a framework for understanding
exceptional performance in project teams’. International Journal of New Product Development & Innovation Management,
Vol 1 No 2, pp 141-154.
162 Flaherty, J.E.(1999) Shaping the Managerial Mind – Peter Drucker. How the world’s foremost management thinker
crafted the essentials of business success p.16
158
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perform better than others. Performance depends on the functioning of synergies between leadership,
vision, and the human capital of the organisation. Fussler et. al summarises “Performance depends on
how the organisation releases the full potential of its people and enhances their cooperation and
alignment with the vision and the priorities defined by the leadership”, in other words empowerment.
They continue, “It implies a notion that in responding to the challenges of sustainable development and
corporate citizenship no one has all the answers. In order to make progress, the creativity of each
individual must be stimulated and nurtured.”163
Rickards and Moger suggest; “creative leadership are activities that encourage the creativity of
others”.164 Thus, creative leadership may be understood as taking on the role of a facilitator, coach or
mentor in implementing systematic approaches to support continuous originality and inventiveness
within an organisation. Based on this, I regard creative leadership as a function to support and thrust
innovations acted upon by individuals within the organisation.
Worldview for Creativity & Innovation
Schumpeter points out the importance of entrepreneurial creativity and innovation as a “source of new
problem solutions”.165 He says; “Innovation is the implementation of a technical or organisational
novelty166, not just invention or development. A creative entrepreneur is an entrepreneur who speeds
along the process of creative destruction in his search of new fields of activity. There are technical,
organisational, institutional and social innovations”.167 Schumpeter links the nature of capitalism to the
need for innovation, a dynamic that he calls ‘creative destruction’. This brings me back to a discussion
of different paradigm and underpinning worldviews. Schumpeter says, “Capitalism, then, is by nature a
form or method of economic change… The fundamental impulse that sets and keeps the capitalist
engine in motion comes from the new consumers, goods, the new methods of production or
transportation, the new markets, the new forms of industrial organization that capitalist enterprise
creates.”168 Schumpeter speaks to an anthropocentric worldview where the creative process and
innovations are perpetuated by the dynamics of economic growth, and in this process, old structures or
seemingly unrelated aspects are overseen or destroyed. Charles Edquist builds on this when define
innovation as “new creations of economic significance.”169 Lafferty and Ruud say about innovation that
it “refers primarily to change that enhances competitive advantage within and among European firms.
Such advantage can be measured in terms of increased marked shares, gross earnings, profit margins,
number of patents, etc.”170
Schumpeter makes a valid point, with a Cartesian worldview innovations may lead to creative
destruction in quest for generating economic growth, on the other hand, innovations can also be
Fussler C. Ed. (2004) Raising the Bar – Creating Value with the United Nations Global Compact. Sheffield: Greenleaf
Publishing Ltd, p. 93
164 Rickards T. & Moger, S. (1999) ‘The development of benign structures: Towards a framework for understanding
exceptional performance in project teams’. International Journal of New Product Development & Innovation Management,
Vol 1 No 2, pp 141-154.
165 Schumpeter, J.A. (1934) The theory of economic development: An inquiry into profits, capital, credit, interest, and the
business cycles. Cambridge (MA)
166 Neuerung, in German, which has been translated into English as ‘innovation’.
167 Schumpeter, J.A. (1939) Business cycles: A theoretical, historical, and statistical analysis of the capitalist process. New
York: McGraw-Hill
168 Schumpeter, J.A. (orig. pub. 1942) Capitalism, Socialism and Democracy. New York: Harper (1975) pp. 82-85
169 Edquist, C. (1997) System of innovation approaches – their emergence and characteristics in Charles Edquist (ed.)
Systems of innovation. Technologies, Institutions and Organisations. London and Washington: Pinter
170 Lafferty, W.M. & Ruud, A. (2004) Green innovation policy in Norway. How can it be evaluated? ProSus Working Paper no
1/04. Oslo: ProSus, University of Oslo
163
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essential in bringing about sustainable development. I believe that by taking an holistic and biocentric
worldview creativity leading to innovations are key in helping us shape a more sustainable future, as it
should follow that development and innovations are founded on ecological principles hence changing
the nature of economic activity. Sustainable development not only ask for the ability to combine, and
construct new concepts, ideas and implement change through innovation, it relies on it
Designing the Future
Some day, after we have mastered the winds, the waves, the tides and gravity,
we shall harness the energies of love.
- Teilhard de Chardin
Edward de Bono and Michalko refer to creativity as a process of design.171 As pointed to above, I
believe we can design more sustainable business concepts and operations to deliver output that
contribute to the wellbeing of Planet Earth and with that the living beings that inhabit it. We have
proven that we are able to design unsustainable societies, products and thoughts, and I am therefore
convinced we can also design more sustainable ones. This is what Einstein referred to when he noted
that the problems of the world cannot be solved by the same kind of thinking that created them. The
challenge simply, or perhaps not so simply, is to find, trust and work with new approaches to redesign
the way we think, create and respond to change. For this creativity is imminent.
UNEP identify that Design for Sustainability (DfS) implies that business “incorporate environmental and
social factors into product development throughout the life cycle of the product, throughout the supplychain, and with respect to their socio-economic surroundings.”172 Formentini says, “design activities
that encourage radical innovation oriented towards sustainability, steering the development of socialtechnical systems towards low material and energy intensity and high regenerative potential”.173 I
deduce that design for sustainability has the potential of being based on sociological rather than
technological structures. To me, this gives an indication of what a shift towards a more sustainable
society and business practices should hold. It is not enough to redesign existing products and services,
to design more energy efficient processes, or even to foster a shift consumption patterns towards more
environmentally friendly products when our basic worldview is unsound. Design for sustainability is
about facilitating a shift in thinking, and to make better frameworks for useful products and services
coupled with appropriate behaviour and lifestyles.174
Society and our daily lives seem to be dictated by ever increasing complexity, in which design plays a
role both as a strategic approach and possibly as a practical framework for new and better solutions.
Thackara says, “our complex systems have been shaped more and more by people who live within
them: this global design attitude stems from the trend of ‘collaborative innovation’, in which designers
are having to evolve from being the individual authors of objects, or buildings, to being the facilitators
of change among large groups of people”.175 Addressing the dynamics of complex systems with design
De Bono, E.,(1992) Serious Creativity. London: Harper Collins Publishers & Michalko, M. (2001) Cracking Creativity –
the secrets of creative genius. Berkley: The Speed Press
172 UNEP (2006) Design for Sustainability – A practical approach for developing countries. Paris: UNEP p. 16
173 Formentini, A. (2005) Signal of Change in the Transition towards sustainability – bottom-up innovation cases for the
creative society. PhD Industrial Design and Mulitmedia Communication. Politechnico di Milano. INDACO Department. p.87
174 Alakeson, V. & Sherwin, C. (2004) Innovation for sustainable development a Forum for the Future report,
Brezet, H. & Hemel, C.G. van(1997) UNEP Eco-design Manual. Ecodesign a promising approach to sustainable production
and consumption. Paris: UNEP, Charter M. Tishner U.(eds.) (2001) Sustainable Solutions: developing products and services
for the future. UK: Greenleaf Publishing.
175 Thackara, J. (2005) In the bubble. Designing a complex world. Cambridge: MIT Press
171
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can be reinforced by visions of desirable futures through processes of co-design, or for extensive
initiatives, engaging in a process of foresight drawing on scenarios or other techniques.176
Designers may apply approaches that are necessary to bring about change. I consider that tools
developed thus far to facilitate corporate sustainability mainly address the environmental, economic
and social dimensions within a reductionist mechanistic paradigm. To facilitate a meaningful shift
towards more sustainable practices, a holistic approach energised by the creative flow of individuals
within a group is called for. Appudurai has identified four types of competencies that need to be
developed to work towards a more sustainable future in an integrated and all encompassing manner.
These include developing phenomenological faculties to ‘see’ problems.177 Secondly, gain technological
know-how to identify solutions. Thirdly, to incorporate sociological aspects to understand how and why,
and finally to access and explore creativity to identify, develop and act on new ideas. These
competencies go alongside the processes of observation, re-elaboration, and dissemination. Appudurai
call this the “international cultural flows”.178
The late John Tillman Lyle, was a pioneer in ecological sound design, primarily addressing landscape
and land use. His approach allowed for emergence of optimal solutions for the overall system he was
working with. Lyle spoke to the need for combining creative and visionary qualities with an analytical
mode. He considered that a designer must have a capacity for complexity, and an ability to draw on
and apply information from multiple arenas. Thus, foresight is a key aspect of design as it means
drawing on information at hand, whilst envisioning a desirable future and designing the process of how
to get there and communicate this in a clear fashion. He says: “Only the creative side can intuitively
grasp complex situations, can leap into the future and its possibilities, and, by imagining what might be,
can pose hypothesis, questions, images, and goals.”179 The process of design is a learning process,
constantly searching, testing, proposing, disposing and proposing again. A constructive design
process, and in my view, a creative process is dependent on clear understanding of context and
defined systems boundaries. Edward de Bono speaks about this as designing creative thinking from a
‘fixed point’.180
As should be clear by now, a design approach as outlined by Lyle, founded on complexity is different
from that of a systems view in that the process addresses relationships, seeking to bring forth
dynamics and capabilities drawing on synergies, enabling one plus one to become three. The systems
approach, on the other hand, looks at the linkages between different elements of the equation, hence,
one plus one will be never be more than two, and often less. A traditional systems view is often based
on intricate models to enable forecasting economic, environmental or social dynamics. These possibly
divergent approaches are extremely valuable as to identify specific qualities and dynamics of systems
and as input for shaping plausible scenarios for desirable futures. Unfortunately, systems approaches
such as life cycle assessment, costing and inventory prove to have limited value if the data and models
are not seen in a broader context. Sinclair and his colleagues address these dynamics in their
modelling of material flows.181
Please see Ch. 4.
As discussed above in the section on Perception.
178 Appadurai, A. (1996) Modernity at Large. Cultural dimensions of globalisation. Minneapolis, MN: University of Minnesota
Press
179 Tillman Lyle, J. (n.a) Design for Human Ecosystems – Landscape, Land Use & Natural Resources. Washington D.C.:
Island Press p. 127
180 De Bono, E., (1992) Serious Creativity. London: Harper Collins Publishers
181 Tillman Lyle, J. (n.a) Design for Human Ecosystems – Landscape, Land Use & Natural Resources. Washington D.C.:
Island Press & Sinclair, P. et. al. (2005) “Towards an Integrated Regional Materials Flow Accounting Model.” Journal of
Industrial Ecology Vol 9, Nr 1-2. pp 69 - 84
176
177
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Based on the above, as illustrated in figure 4, I contend that when designing from premises of a biocentric worldview while taking an holistic approach drawing on the principles of complexity theory, we
can bring forward a dynamic creative process initiated at the edge of chaos helping us to foster
solutions for more a desirable future. Some may think there is a paradox between design and creativity
from the edge of chaos. However, I consider that the design approach discussed above is instrumental
in enabling the creative process to happen, and is not a mechanism for planning and control.
Creativity & Experience of Time
“Time is an invention. So much creativity is happening in the simple reason that we have withdrawn
ourselves from the past and future. Our whole energy remains blocked in either past or in the future –
when you withdraw all your energy from the past and future a tremendous explosion happens, that
explosion is creativity.”
- Bhagwan Shree Rajneesh
Experiences of time are relevant when seeking insight about unlashing creativity. Systems’ thinking
works with linear or exponential relationships and is preoccupied with prediction that is modelled on
data and patterns that proved true in the past. Effectively this promotes a strategy of walking
backwards into the future, in other words, to prepare for the future with fragmented data of the past in
hand. I consider this brings about a notion of time that puts us in a mental relationship with a tomorrow
that, more often than not, never comes. In contrast, complexity theory is concerned with the present as
it recognises that the future is inherently unpredictable as strange attractors that create variable
behavioural patterns influence it. As I pointed out above, even tiny perturbations in the process of selforganisation at present can have enormous impact on the development of a process. In this
perspective, a linear method to work towards goals in the future seems not only futile, but also a waste
of time and energy.182 The most sensible approach is to be grounded in the present moment in relation
to an emergent future.183 After all, the presence of the eternal now is all we ever have.
Different circumstances determine whether people feel time as a shopping basket filled to the brim, or
whether they are ‘one’ with the moment and the activity they engage in. We have become accustomed
to relating to the linear time of the clock, Cronos. The clock gained impetus from the 16th century
onwards with mechanisation of society. In some sense it adds a practical frame of reference in society.
But clock time is not sensitive to movements in nature, nor as a steward of experiences or to foster
creativity; for this I believe we need a notion of round time. I deduce that round time is
phenomenological and fractal, allowing for different sensory experiences and forms of knowledge to
Dimitrow, V. (search March 2007) www.zulenet.com/vladimirdimitrow/pages/complexthink.htm
182
183
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emerge.184 Only this can allow our experience of time to expand and become in tune with our internal
rhythm and sense the flow of life around us, in the now, yet through the fractal quality of time, the now
subtly eco that which was and what is to come. We experience this directly in music, but also Goethe
gives us this quality of time through his phenomenology of plants.185 Briggs and Peat note, “Time
expresses itself in the subtly changing tempos that are like water moving in a rock-littered mountain
stream; time curls, spills, separates, flows around, obstacles, merges, pools quietly, slips forward,
flashes with light and darkness”.186
Several authors point out that ‘time-out’ or time away from a problem can act as an incubator for
creativity. On the flip side, the same authors encourage engaging in ‘quick time’ of brief encounters of
activities, shifting between different input to seek inspiration and insight from where least expected.187
Howard Grubber notes that highly creative individuals often make use of a “network of enterprises”
that feed of each other.188 Thus, so-called creative individuals are able to harvest the synergies
between various activities, allowing them to manifest or come into view by themselves rather than to
control, letting each idea or insight evolve in accordance with its own time.
Every human being has different experiences of time. Based on the literature and conversations I have
had with people, it seems as if creativity along with an inspirational communion with nature around us
is connected to a sense of timelessness, or what Jay Griffiths call ‘wild time’. She says,
“Just as the human need for wilderness becomes more acute with increasing development and a
cockroaching population; so our need for wild time gets greater as the encroaching cluck shunts its
way across the mind. If we lose wilderness, we lose the visible picture of wild time; the future will never
know the time of now and fire, time which thinks in grandeur like an ancient tree, which moves in
passages of structure like a mountain which knows the long white wait of a waterfall, running so fast
and falling so slowly.”189
This notion of a wild time of timelessness, explored in communion with wilderness, goes to the heart of
the type of time experience I believe are essential for brining about a greater of connection with nature
around us and our innate organic creativity along with a renewed sense of authentic life expression. I
hope that some of the approaches in chapter four can help bring about an experience of time in wild
and wild in time. Timeless!
Griffiths, J.(1999) Pip Pip – a sidewise look at time. London: HarperCollinsPublishers Ltd. & Briggs, J & Peat, F.D. (1999)
Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change. New York: HarperCollinsPublishers. 125-133
185 Holdrege, C. (n.a.) Doing Goethean Science. The Nature Institute
HarperCollinsPublishers, p. 131
187 De Bono, E (1992), Briggs & Peat, F.D.(1999), Ceserani, J.(2003) Big Ideas – Putting the Zest into Creativity and
Innovation at Work. London: Kogan Page
188 As quoted in Briggs, J & Peat, F.D. (1999) Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change.
New York: HarperCollinsPublishers, p. 140
189 Griffiths, J.(1999) Pip Pip – a sidewise look at time. London: HarperCollinsPublishers Ltd. p. 289.
184
41
3. Movement Maps of Mind, Heart, & Body
deep ecology, u-process, five rhythms
“Energy moves in waves. Waves move in patterns. Patterns move in rhythms. A human being is just like
that, energy, waves, patterns, rhythms. Nothing more. Nothing less. A dance.”190
- Gabrielle Roth
Movement is the essence of life and an expression of creativity. Life in movement unravels creativity.
Creativity expressed through movement brings life. The triangle is complete.
I have looked at three “maps” for movement, and the movement I am speaking to, is movement of
perception in order to muster compassion, motivation, insight and creativity to bring about change for
a more sustainable future, as it emerges. I call the approaches below for movement maps, as they
present an entry point to a projected passage of practice and techniques to waken insight by
combining various modes of coming to knowing. Moreover, I see Goethean science, as discussed in
chapter 2, as a key approach to access and explore the sensory abilities of participants in seminars,
and is fundamental in attaining a deeper understanding of the interconnections and interdependency of
all life, actions and processes. However, as I have already brought attention to Goethe, I only mention
him here as his way of science that I consider to be an embedded aspect of the movement maps in
chapter 3 as well as the more specific techniques and designs suggested in chapter 4.
I will first look at the Deep Ecology movement that was initiated by Arne Næss. Second, I will give a
short account of the U-Process as articulated by Otto Scharmer, and finally the 5Rhythms movement
map by Gabrielle Roth. The activities suggested in chapter four puts spotlight on promising expressions
and ideas to feed into the movement of perception as observed below.
Deep Ecology
Your beliefs become your thoughts. Your thoughts become your words. Your words become your
actions. Your actions become your habits. Your habits become your values.
Your values become your destiny.
- Mahatma Gandhi
Deep ecology is about action. It is about finding a motivation and drive to live in balance with the
ecosystem and to oppose and resist any initiative that contradicts or inhibits ecological harmony, or
that fails to recognize the intrinsic value of non-human life. This is why Deep Ecology is as much of a
movement as a philosophy. “Arne Næss and George Sessions devised the Deep Ecology platform, also
known as the eight points of the Deep Ecology movement.” A group attending a course in Deep
Ecology at Schumacher College in 1995 prepared the version below (Box 6.).191
Roth, G.(1997) Sweat your Prayers – Movement as Spiritual Practice. Dublin: Newleaf. p.xxvii
Harding, S. (n.a.) What is Deep Ecology? Through experience, deep questioning and deep commitment emerges deep
ecology. Resurgence 185
190
191
42
Box 6. Deep Ecology Platform: An Alternative
1.
2.
3.
4.
5.
6.
7.
8.
All life has value in itself, independent of its usefulness to humans.
Richness and diversity contribute to life’s well-being and have value in themselves.
Humans have no right to reduce this richness and diversity except to satisfy vital needs in a responsible way.
The impact of humans in the world is excessive and rapidly getting worse.
Human lifestyles and population are key elements of this impact.
The diversity of life, including cultures, can flourish only with reduced human impact.
Basic ideological, political, economic and technological structures must therefore change.
Those who accept the foregoing points have an obligation to participate in implementing the necessary
changes and to do so peacefully and democratically.
Arne Næss draws his inspiration from the Norwegian mountains, and the teachings of Spinoza and
Gandhi have had a major influence in his work. He has written most of his books in the cottage
Tvergastein at Hallingskarvet. Arne Næss coined the term in the 1970s, and arrived at Deep Ecology
as an approach to seeking ecological wisdom, which he thought could not be gained through ecology
or science alone. Deep Ecology takes a bio-centric worldview in that it recognises the interdependence
and intrinsic value of all life forms.
Harding says, “Deep ecology seeks to develop [ecological wisdom] by focusing on deep experience,
deep questioning and deep commitment. These constitute and interconnected system. Each gives rise
to and supports the other, whilst the entire system is, what Næss would call, an ecosophy: an evolving
but consistent philosophy of being, thinking and acting in the world, that embodies ecological wisdom
and harmony”.192
Figure 5. Deep Ecology
From a Deep Ecology point of view, we should protect nature as an act of loving, nurtured by a sense
of belonging, and not as a duty. This is what Arne Næss calls our “ecological self”, a form of selfrealization.193 Næss says about ecological self that it is, “where the self to be realised extends further
and further beyond the separate ego and includes more and more of the phenomenal world”.194 Arne
Næss equates self-realisation to a way of being in the world, developing a relationship with the
ecosystem, and by identifying recognizing ones place in the world. It is not about realisation of ego, but
about a realisation of ones calling and to live in accordance with what gives life meaning. He quotes
Gandhi talking about his passion in work;
Harding, S. (n.a.) What is Deep Ecology? Through deep experience, deep questioning and deep commitment emerges
deep ecology. Resurgence issue 185 http://www.resurgence.org/resurgence/185/harding185.htm
193 Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press. p.46
194 As quoted in Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press p. 191.
192
43
“What I want to achieve – what I have been striving and pining to achieve these thirty years – is selfrealization, to see God face to face, to attain Moksha (Liberation). I live and move and have my being
in pursuit of that goal. All that I do by way of speaking and writing, and all my ventures in the political
field, are directed to this same end.”195
Joanna Macy says Deep Ecology questions the “fundamental premises of the industrial growth society.
It challenges the assumptions, embedded in much Judeo-Christian and Marxist thought, that humans
are the crown of creation and the ultimate measure of value.” 196 The values of Deep Ecology are not
new, but framework drafted by Arne Næss was. Deep ecology is consistent with wisdom traditions that
go far back in human history such as Buddhism, Spirituality of Christian mystics and Native American
traditions.197 Also, Albert Schweitzer expressed ideals of Deep Ecology. He insisted “we are ethical only
when all life is sacred to us, including the lives of plants and animals as well as that of our fellows”.198
Box 7. Joanna Macy describe a global shift in awareness and activism as “the Great Turning”, a turning
that is manifesting in three dimensions that are mutually reinforcing. which are: “1) actions to slow the damage
to Earth and its beings; 2) analysis of structural causes and creation of structural alternatives; and 3) a
fundamental shift in world view and values.”199 She state that the biggest threat to action and change is our
numbness that we accept and live with in order to avoid the pain of gaining a deep understanding of the
challenges at hand. Hence, Macy advocates that an important part of engaging in work for a more sustainable
future is to invite, accept, and work through the pain, fears and suffering to enable action and change. Pain and
join are tightly coupled. She suggests the following process:
“Acknowledging our pain for the world.
Validating it as a wholesome response to the present crisis.
Letting ourselves experience this pain.
Being able to express it to others.
Recognise how widely it is shared by others.
Recognise that it is not “crazy” but that it springs from our caring and connectedness”.200
Næss expresses that deep experiences are spontaneous and happen when the individual least expects
it. It is about experiencing a sensory connection with that of another living being such as a tree, a river
or an animal. David Abram describes deep experiences in communion with the ecosystem poetically in
Spell of the Sensuous.201 Næss put forward that availing ourselves to experiencing the connection and
interplay between human and non human life leads to a recognition of the intrinsic value of all life
followed by a desire to protect life, non-human and human-life alike, in short this is a process of selfrealization, and expanded sense of the ecological self. He says,
“Care flows naturally if the ‘self’ is widened and deepened so that protection of the free Nature is felt
and conceived as protection of ourselves… just as we need no morals to make us breath... [so] if
your ‘self’ in the wide sense embraces another being, you without feeling any moral exhortation to
show care… you care for yourself without feeling any moral pressure to do it… If reality is like it is
experienced by the ecological self, or behaviour naturally and beautifully follows norms of strict
environmental ethics.”202
As quoted in Næss, A (1995) Deep Ecology for the 21st Century. George Sessions (Ed) Shambhala
Macy, J.(1991) World as Lover, World as Self. Berkley: Parallax Press p. 64 & 46
197 Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Framingo p. 7
198 Tillman Lyle, J. (n.a.) Design for Human Ecosystems – Landscape, Land Use & Natural Resources. Washington D.C.:
Island Press p. 139
199 Macy, J. & Brown, M.Y.(1998) Coming Back to Life – Practices to Reconnect Our Lives, Our World. Gabriola Island: New
Society Publishers. p. 17
200 Ibid. p. 92
201
Abram, D (1996) Spell of the Sensuous. New York: Vintage Books
202 As quoted in Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Flamingo p. 12
195
196
44
The assumption is that by identifying with, whilst also recognising the intrinsic value of all beings, we
want ‘to do the right thing’. Our ecological self is like a notion of selfhood, it is dynamic in that it
involves choice and presence with subjects within an ecosystem. An ecological self is also sensitive to
the interdependencies and interconnections inherent in the ecosystem, as Macy says, “be they hunted
whales or homeless humans or the planet itself.”203 It is clear that when substantial group of people
engage in a process and awareness of the ecosophy, Deep Ecology will lead to a paradigm shift in
worldview and bring about different way of understanding our role as human beings on planet earth.204
I consider the idea of ecological self an essential premise to feel a desire for life, and henceforth to
enable creativity to foster ideas and solutions for a better future.
John Milton (Box 8) has developed a type of wilderness journey very much based on the principles of
Deep Ecology. The nature quest fed into the shaping of the U-Processes, which is the next movement
map to look at.
Box. 8. Nature Quests
John Milton has developed twelve principles based on ancient wisdom traditions and particularly Native American
Indian tradition. He created the Nature Quest to help individuals to connect with their inner and environment and
the reality in which they live. His work is used as an example of a deep enquiring process in the book “Presence”
authored by Peter Senge et. al.205 Milton teaches sensing and experiencing the living world through opening of
the heart. John Milton draws extensively on the practices of meditation, Qi gong, Tai Chi and wilderness skills as
well as techniques for transforming blocked emotions and with that his nature quest may be powerful approach
to unlashing personal creativity and flow.206 Gøran Gennvi says about the Nature Quest that “if you choose to
trust: the natural world will bring you profound peace, self-respect and revelation your authentic self.”207
Building on this, Gennvi has developed WiLD (Wisdom, Innovation, Leadership & Dialogue) based in Sweden. His
objective is to contribute to sustainable practices within business and communities.208
U-Process
Otto Scharmer gives an inspiring account of the U-process in his two books the Theory-U and
Presence. What Scharmer is talking about is not new, but it is novel as an approach for organisational
learning within business. I see clear parallels in Scharmers' work to work of Arne Næss as well as
Gandhis' thinking. Scharmer brings in elements from Goethean Science to the U process, and also
some interesting parallels to the Five Rhythms movement map by Gabrielle Roth that I will attend to
below. Scharmer speaks to the importance of shifting the way we see the world, and take notice of how
we relate to our surroundings, as this is key for how we create in our lives. Scharmer talks about our
"blind spot," which are the centre from where we operate that we tend to ignore, they henceforth
prevent us in being fully present in bringing about desirable systemic changes in business and society
today.209
In the book Presence, which came out in 2005, Peter Senge, Otto Scharmer, Joseph Jaworski and Betty
Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press p. 192
Capra, F. (1997) Web of Life – A new synthesis of mind and matter. London: Framingo p. 11
205 Senge, P.,et. al.(2004) Presence – human purpose and the filed of the future. Cambridge: Society for Organisational
Learning (SOL)
206 John Milton www.johnmilton.org (Search April. 2007)
207 Genvi, G (2007) A powerful awareness training in nature. www.naturakademin.se
208 Natur Akademin www.naturakademin.se
209
Cambridge: Massachusetts.
203
204
45
Sue Flowers develop a learning cycle based on one’s ability to sense and realize emerging futures. This
effort results in the culmination and exploration of the U-process.210 Building on this, the "U"
methodology “of leading profound change is expanded and deepened in Theory U.” The U-process is
designed to be teaching us to connect with our “essential Self in the realm of presencing”. And
recognising and seeing our blind spots is key in this effort. The term presencing, coined by Scharmer,
combines the present with sensing. “Scharmer endeavour to have prepared a holistic methodology that
enables learning “from the future as it emerges”. I believe this in turn can bring insights that help us
realise desirable sustainable futures.211 Please see the diagram below to see a possible movement
map of heart and mind.
Scharmer goes through various levels of
change, teaches listening skills and addresses
the importance of interweaving and working
through and open heart, mind, and will in order
to bring forth one’s authentic. Hence,
Scharmer addresses the need for going
through a process of inner work in order to
awaken the internal calling to facilitate and
foster deep change.
212
Box 9. Five movements of presencing:
ü
ü
ü
ü
ü
Co-Initiating: Listen to others and to what life call you to do
Co-Sensing: Go to places of most potential and listen with your heart and mind wide open
Co-Presencing: Retreat and reflect, allow the inner knowing to emerge
Co-creating: Prototype a microcosm of the new to explore the future by doing
Co-Evolving: Grow innovation ecosystems by seeing and acting from the emerging whole.
Five Rhythms
Dance can be a journey for the body and soul to meet different elements of oneself and the world
around. In this way, I consider dance by way of the five rythms can be a sensory supplement to
Goethean science and Deep Ecology to work towards an ecological sense of self through deep
experience followed by deep commitment. The five rhythms are flowing, staccato, chaos, lyrical and
stillness. Please see the rhythm map below for further description, and also seeing how it links to
different ways of experiencing emotions to bring about creative expression. Through the rhythms we
may explore different archetypes explored by Jung. Gabrielle Roth says,
“In the rhythm of flowing we receive the feminine teachings, in staccato we explore the masculine, and
in chaos we integrate the two. Lyrical is the rhythm of self-realisation, in which we experience our most
expansive and liberated self. In stillness, we contemplate the mystery that infuse every aspect of the
universe – including the deepest of our own souls.”213
Senge. P. et. al. (2004) Presence – human purpose and the filed of the future. Cambridge: Society for Organisational
Learning (SOL)
211 http://www.solonline.org/theoryu/ & www.ottoscharmer.com
212 Society for Organisational Learning http://www.solonline.org/presencing/ (Search July 2007)
213 Roth, G (1997) Sweat your Prayers – Movement as Spiritual Practice. Dublin: Newleaf. p. 43 We can see parallels in
Gabrielle Roth’s map of the five rhythms to the ancient medicine wheels working with the energies of the different parts of
the planet…
210
46
The focal point of this workbook is on creativity from chaos, and chaos also plays an important role in
the five rhythms. As in cosmos and embedded in the dynamics of change, the rhythm of chaos
represents fusion, shape shifting, letting go and welcoming anew. And there is more, Roth says,
“Dancing chaos ground the mind in the body and releases everything that blocks you from your
intuition... Intuition is chaotic. If you are afraid of chaos it is hard to access your intuition. Chaos is
about rearranging and release in order to create.” 214 It teaches us to move in the unknown, to die and
to rise again. Chaos can help us to accept life as a process, continuous moving, shifting, flowing,
rearranging through the wild and the timeless. To be in the rhythm of chaos means to be a seeker, and
a quest for integration of the masculine and feminine, light and dark, past and future. Seeking patterns,
themes, whilst welcoming the unforeseeable influence of the strange attractors.215
Gabrielle Roth describes the five-rhythm movement map,
“In flowing we learn how to be sensitive to the flow of our unique energy, to flow it and be true to it and
to ground that energy in our bodies and in the body of the Great Mother, earth herself. In staccato we
learn how to organise our energy, to focus and direct it, to listen to our hearts and honour our need to
express our feelings. In chaos we learn how to dive below the surface, logical min to the intuitive mind;
how to get in touch with our whims, our impulses, our spontaneous, poetic intelligence, and free them
to move through our bodies and hearts.”216
Box 10. The 5 Rhythms Map by Gabrielle Roth
-
Flowing – earth (east) feeling, grounding, Gaia, feminine, sowing, initiation, sensual, yin, taking
in, being part of a tribe.
Staccato – fire (west) sensing, action, Eros, masculine, boundaries, consuming, yang, letting go,
action, doing, freedom fighter, part of a community.
Chaos – water (south) a meeting of masculine and feminine energy, intuitive, letting go,
creativity, service.
Lyrical – air (north) thought, mythos, realise we are part of a process, nothing is fixed everything
is flow, detachments and self-realisation. Process of deightment, seek truth about ourselves and our
mission on this planet.
Stillness – whole (universe) communion, quiet in order to understand the process we have just
been through. Alchemy!
Dance has taught me that there is no way out but through. The School of movement medicine has
developed a programme to “release participants from unconscious and limiting patterns and allow the
natural authority of the soul to take over the leadership of our lives”. Ya’Acov and Susannah Darling
Khan say “There is a dancer inside each of us who is in touch with a deep trust in the creative process
of life. Movement medicine brings us back to this core”. The five rhythms works with the premise of no
dogma, no right or wrongs, but is a call to pay attention and bring emotions into movement, express
the sensuous and remember our ability to create.217 Let’s dance!
Ibid. p. 118
Ibid. p. 118-119
216 Ibid. p. 118-119
217 School of Movement Medicine http://www.5rhythmsuk.com/
214
215
47
4. The ChangeLAB Approach
a primer to workshop facilitation, modes and activities, exercises prepared
for the sigdal workshop
Whatever you can do or dream you can do, being it.
Boldness has genius, power and magic. Begin it now!
- Goethe
One of my intentions with this guide is to point to an array of approaches for triggering the senses as
well as seeking at different ways of coming to new insights than the thought processes we have
become accustomed to. I maintain that to foster a shift in our assumptions and perceptions that follow
from these, we need to expand our approach to cognition.
In this chapter I will address a multitude of techniques and practise that echo theories from chapter
two, but may or may not be reflected in the movements maps discussed in chapter three. This is an
exploratory chapter that has been written as an emergent source of ideas to inspire explorative
workshop designs. The last part of the chapter gives an account of the exercises prepared for the
Sigdal workshop. However, no one entry in this chapter is complete, it s a chapter of intentions and
beginnings, and it is up to the adventurous reader to take whatever touches a nerve further. After all
this is what creativity from the edge of chaos is all about, so here you are, on the edge… Welcome!
A Primer to Workshop Facilitation
I believe that the group is the art form of the future… In our present culture, as I see it, the main need
is for a form that can enable human beings to share their perception and attention… we obviously
cannot confront this tangled world alone... it takes no great insights to realise that we have no choice
but to think together, ponder together, in group and communities. The question is how to do this.
How do we come together and think and hear each other in order to touch, or be touched, by the
intelligence we need.
- Jacob Needleman, Author & Philosopher, 1997
To me, facilitation is about holding space. It is about being present, foster team effort, whilst
encouraging creative expression and participation from all members of the group. Groups form, they
take on a personality, continuously shifting yet aspects may be stabile.
Group Formation
My observation is that people open up more easily in groups where they do not work or do not know
each other from before. Hence, when the group has been working together for a while there is a
tendency to close, and to no longer share as much within the group as a whole. At this point members
are inclined to connect and work in smaller teams, and disregard the rest. This is part of a normal
group forming processes, and is commonly illustrated by the Tuckman model of group formation.218
Tuckman describe how all groups go through an initial honeymoon period of getting to know one
another, the initial shape of the group. He calls this the phase of forming. This is typically followed by
a time of storming, dominated by emergent subgroups and looming bicker and conflict. After the
storm, groups move into a phase of norming, during which time it adapts to a modus operandi that
218
Macy, B.A. (2006) Successful Strategic Change, San Francisco, CA: Berrett-Koehler Publishers
48
may not be optimal, but that is at least workable. Many groups never move beyond norming, and keep
alternating between the phases of storming and norming. However, groups that manage to transcend
the conflicts and structuring processes, move into the phase of performing, a dynamic phase of
action and implementation of group mandate and ideas. Performing brings the group to the end of a
cycle, and into the phase of mourning. Some authors label this phase as transforming, but the
essence is the same, the group has completed its mandate and there is time for closing the cycle and
progress into a new stage, possibly by reshaping or reorienting the group.219 I consider the Tuckman
model to be a good illustration of group formation processes, but it should by no means be understood
as a static model. In real life each phase may arise at different points and sometimes phases may
coexist and entangle in mysterious ways. This is part of the reason why I chose to see groups as
complex adaptive systems220, but Tuckman nevertheless gives interesting insight about the dynamics
within the system as such.
Three Modes of Facilitation
Moving from one common interpretation of group formation, I will list three modes of facilitation
outlined by Mackewn drawing on Heron. First, Heron addresses the hierarchical mode, which is what
I would like to call old paradigm facilitation. It is based on a manner of control where the facilitator
directs and manages the process by exercising power over and doing things for the group. As the
hierarchal approach has shaped much learning and thinking in today’s society, I believe it is not
uncommon for facilitators to fall back on this mode when faced with challenging group dynamics. The
second facilitator mode is the co-operative, which reveals a perception of shared responsibility in
the learning process, whilst allowing the members of the group to be more self-directing as well as
collaborative in their interaction. The third type of facilitation is the autonomous mode, where the
facilitators’ role is merely to hold the space, guide and give freedom to members of the group to do
things their own way. Obviously, these three modes do not exist in isolation, nor are they the only
modes there are. However, I find they indicate some general characteristics of different modes
facilitators may find themselves in depending on their own dynamic and the mood of the group they are
working with. The tips below are meant as general pointers to enable tuning into the needs of any
group and to go with the flow of ever changing demands.221
The Workshop
When preparing a workshop, I find it important to apply different approaches and tools to keep shifting
the energy of the group along with focus. Going from artistic to more logically inclined activities whilst
moving between working as individuals, as teams or in plenary, can foster this. Groups respond
differently to the changing dynamic and forms of engagement. Macy recommend to allow for a
communal resting or movement period accompanied by southing music, a meditation in nature, or
maybe a drawing exercise, or slow time in solitude to jot down a few thoughts about what went on over
lunch.222 Working from a holistic perspective, I believe it is always favourable to work in nature if
possible. In the textboxes please find a few tips I find useful when facilitating (Box 11 & 12).
Macy, B.A. (2006) Successful Strategic Change, San Francisco, CA: Berrett-Koehler Publishers & MacKewn, J. (2006)
Facilitation Skills Workshop, Module 1. Bath University.
220 As discussed in Ch. 3
221
MacKewn, J. (2007) Facilitation Skills Workshop, Module 3. Bath University.
222 Macy, J & Brown, M.Y. (1998) Coming Back to Life – Practices to Reconnect our Lives, Our World. Berkeley: New Society
Publishes
219
49
Box 11. You the Facilitator…














223
Be present & authentic!
Use first names.
Don’t try to fake it – know your stuff!!
Maintain eye contact with everyone.
Focus on the process not the content – trust the resources within the group.
Pay attention to individuals as much as the dynamics of the whole.
Encourage participation from everyone, but respect and allow silence.
Organise, connect and summarise ideas and information.
Be mindful of outcomes – aim for commitment and follow-up.
Humour! Laugh at yourself, and with the group. Don’t take yourself too seriously.
Be a facilitator – not a performer
Know what you say - and make sure people you rely on get your message.
Ask someone to help you with timekeeping and group herding.
Delegate as much as you can, especially practical aspects.
Moreover, I find it productive to have a clear plan of my approach to different segments of the
workshop. For this I have prepared the following lists of reminders:
Box 12. Workshop Segments
Getting Started
 Create a relaxing atmosphere
 Greet participants individually
 Clarify logistics, ground rules and timetable including punctual running of the workshop. Working with
the talking stick etc. (NB. Remember to delegate responsibility for practical aspects)
 Secure agreement to the workshop agenda – ask what people expect from the workshop
 Help participants to focus by clarifying purpose, objectives and potential desirable outcome.
Dedicate the work and outcome of the workshop to a certain cause (agree on focus)
 Have people introduce themselves.
The Workshop
 Have all participants check in to the workshop to take the pulse of how participants are feeling etc.
this can for example be a sound, word, gesture, or a drawing.
 Emphasize that active listening is active participation.
 Encourage spontaneity, curiosity and an open attitude.
 Balance between individual work, in pairs, small groups and in plenary.
Closing the Workshop
 Feedback & evaluation – prepare ahead… and collect BFORE the closing circle.
 Closing circle should be a time to honour the time spent together, and to share parting thoughts
and ideas.
 Follow-up by email or Internet resources, workshops etc. etc. Regardless what form follow-up is
key!!!
- Inspired and adapted from J. Macy & M. Brown (1998)
Authors’ notes August 2007 & adaptation from Justice, T. & Jamieson, D.W (1999) The Facilitators Fieldbook. New York:
American Management Association p. 122.
223
50
Evaluation and feedback
“Examine my worlds the way a goldsmith examines gold.
Don’t just take my word because it is my word”
- The Buddha224
As everything in life is part of a process, the end of a workshop is an opportunity to get input for the
next steps of the journey. I recommend asking for feedback and evaluation towards the end, but not so
close to the end that people have not time to actually give input. To get appropriate feedback, it is
always good to allow for some time in the program for people to respond. Remember, the feedback is
for you, as well as it may function as a process tool for participants to consider their experience, input
and possible follow-up. I recommend that this process be orchestrated prior to the closing circle to
ensure that the closing circle is experienced as a true closing. I find it most constructive to ask for
individual feedback, whilst also giving the participants an opportunity to be anonymous. This is because
many people may not want to give authentic and uncensored response if they have to say it directly or
if they need to share their thoughts with the whole group. Thus, it seems written individual feedback is
sensible. As participants may have different energy levels, patience and time available towards the end
of the workshop, I prefer using a feedback from that give room for a combination of open questions
and predefined questions where the participant simply have to respond with a value. But there are a
there are as many ways to collect feedback as there are people in this world, the main thing is that you
make an effort to collect it, it is your chance to be better, and the participants chance to digest the
workshop process and perhaps formulate possible intentions for follow-up.225
Modes and Activities
“Do you have the discipline to be a free spirit?”
- Gabrielle Roth
The approaches listed in alphabetical order below, are all just that; approaches. Each represents a
huge potential in freeing creativity. They are different characters, and I go into different levels of depth.
Some activities are focused on individuals and others on groups as a whole. It is the way it is. Work in
progress and lots of potential! I merely seek to point out opportunities, and do not endeavour to give
an exhaustive list, or a comprehensive exploration if each one. It is simply an attempt to open windows
of possible modes unlashing creativity founded on a bio-centric worldview by seeing the world “as if for
the first time”, and thereby bring about movement of mind, heart and body… 226
as quoted Kongtrul, D.(2005) It’s up to you – the practice of self-reflection on the Buddhist path. London: Shambhala p.
128
225 Please see Appendix 7 feedback form from Sigdal workshop as an example.. For further reading about workshop
facilitation I can recommend: Sibbet, D (2005) Best Practices for Facilitation. Facilitation Guide Series. San Francisco: The
Grove, Biech, E (2005) Training for Dummies. Hoboken: Wiley Publishing, Inc. & from Justice, T. & Jamieson, D.W (1999)
The Facilitators Fieldbook. New York: American Management Association
226 London, P. (September 2006) Open Evening Schumacher College. Captain Productions
224
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Acting & Improvisation
“Improvisation is the life blood of creative endeavour”
- Ben Elton227
Interactive theatre and improvisation is a form of experiential learning that challenges the senses and
can be highly effective in helping us to see issues and challenges from different perspectives. Through
role-play or theatre we are given the opportunity to highlight specific elements of a situation, to work
with future scenarios as well as to take on roles of another and henceforth learn more about how a
counterpart may experience or understand a situation. Interactive theatre and improvisation generate
processes where individuals and groups engage to actively explore how they experience the world
physically, intuitively, intellectually and emotionally. In recent years, acting has become increasingly
more important as an interactive tool both for organizational learning as well as for unlashing creative
potential in groups and individuals. Role-play may be introduced in many different facets; below I only
mentioned two activities that are more aimed at the individual than a group process. I suggest more
exercises and processes be orchestrated around specific issues and aspects relevant to particular
groups.
Activities:
ü
Who are your heroes? See if you can allow yourself to play the role of your own hero for a few
moments (or even a day). How does it feel? Any insights about yourself and the roles you
play?228
ü
Who are you? Work with a partner keep asking that same question of who are you? Do this in
three sessions wherein each person has three minutes each time to answer who they are. How
does the monologues emerge? Any new insights?229
Breath
To live means to breathe. Breathing is like a wave beating against the shore for then to retreat and do
the whole movement over again with different molecules of water. A continuous flow of exchange,
change and interaction. In the same way, the rhythm of our breath is an agent for exchange and is in
itself changeable and fluctuating upon the demands of our bodies. The in and out breath are of equal
importance. It is like birth and death, the circle of life, complimentary and interdependent. To allow for
renewal something has to give. In our relationship with the circle of life, we tend to pay more attention
to renewal and growth than to letting go, and in the same way we tend to pay more attention to our inbreath than the out-breath. We take in, absorb information, knowledge, we renew ourselves, we hold
on, and we hold our breath. Breathing out is just supposed to happen, and it is, but often not
completely, and often not offering the full release our bodies call for. Letting go seems difficult in many
situations, as we tend to want things to remain the same. Predictability and order makes us feel safe
and is prompting us to hold on, and on, and on. We are accustomed to accumulate as a way of
securing ourselves, not recognising that this inability to let go is in it self an obstacle for a healthy
tomorrow. If our breath is not released completely, it is equally difficult to take in new, to regenerate
our cells for life and to live fully in the moment. Breathing out gives freedom. And as a wave, we too
have to take in, and let go against the shore. As breath is life, and life is creative. Breath in. Breath
out…
Elton, B. (1999) Inconceivable. London: Black Swan Press. p. 320
Inspired by conversation with Bjørn Moan, August 2007.
229 This exercise was introduced by Peter Russell during the Science & Spirituality Course January 2007. Schumacher
College.
227
228
52
Activity:
ü
Hold the breath for as long as you can. This makes you aware of the need for letting go, and
also taking in new. Life is a process; it is like breathing, in and out in a continuous yet
changeable movement in flow.
ü
Once aware of the breath, and the importance of finding balance in taking in and letting go put
on some flowing music, and start moving with the breath.230
Chanting & Voice
Singing or chanting can be powerful approaches for freeing ones breath and to release creative flow.
To hear our own voice can make us feel more exposed and self-conscious. For many the use of voice
means to step outside their comfort zone, and can thus be powerful in getting in touch with response
mechanisms and sides of ourselves that we are less familiar with. For others, voice is a natural way of
accessing intuitive and sensory faculties. Chanting may be initiated with a tone from a singing bowl,
followed by a meditation or medley of chants alone or with a group. Many enjoy chanting assisted by
the beat of a drum. When we let go of ingrained ideas about the sound of our voice, tune and melodies
can emerge naturally into a beautiful painting of sound.
Activity:
ü
Play with your voice by adding tone to your out-breath.
ü
Listen to the sound of a Tibetan singing bowl, and seek to mimic its sound.
ü
Pay attention to the sounds around you, pick out one note and seek to resonate with it by
humming its vibe.
ü
Identify one of your favourite songs, pay attention to the tone and melody. As you listen
carefully, try to breath with the song through your voice. Close your eyes if you wish.
Co-creation
The last couple of years there has been a move away from addressing the functionality of a product or
process to actually involving users in the design process in order to more accurately respond to user
needs, wants and perceptions. This is a process called co-design, co-creation or user driven
innovation, and is a process that puts the users direct experience with the product, process or service
at the user at the heart of the design process. It is a win-win process in which users, designers and
producers work together to come up with optimal solutions. I feel co-creation offers an exiting platform
for identify workable team based solutions for a better future.231 All teamwork and teambuilding is
essentially about co-creation.
Co-operations such as Philips, Unilever and Procter & Gamble have for example invited prospective
consumers to take part in the design process by organising product panels and open stakeholder
processes. Co-creation can also be facilitated by way of the Internet. For example, a few years ago, the
BMW posted a toolkit on their website to enable customers to develop and submit new ideas to the car
manufacturer. Fifteen individuals were later invited to the engineering department to participate in the
design process, to give further input, and some of their ideas have now reached the prototype.
Similarly, the game developer Westwood Studios has a dedicated department where customers feed
ideas for new products.232 Manzini calls this “co-production of value”, referring to how users respond
Inspired by G. Roth 5 Rhythm practice. Roth, G (1997) Sweat your Prayers – Movement as Spiritual Practice. Dublin:
Newleaf, p. 110
231 Santers, E. B. (2002) From User-Centred to Participatory Design Approaches. In Design and the Social Sciences J.
Frascara (Ed). Taylor & Francis Books.
232 Economist, the (12-18 March, 2005) The rise of the creative consumer.
230
53
directly to their challenges by conceiving and implementing solutions themselves. This subject-actor
paradigm goes beyond the restricted role of consumers, and gives power to the capabilities and
potential of a more flexible business structure applying the power of customers to the product
development process.233
Activities:
ü
The “prosecutors’ dilemma” is an effective way of scrutinising a product or process to prepare
for co-creation and new insights. Group get together and looks at a product to decide what can
be changed or altered.234 Ask the group to apply black hat thinking235, or a strong critical voice.
ü
Divide the group into teams of 5-7 people. Ask each team to come develop a concept note for a
major event (define). The first task is to identify the feeling guest should leave the event with,
and what main experiences would like bring about, finally the teams bring their attention to
practical aspects.
Comfort Zones
“If there are two courses of action, you should take the third”
- Jewish proverb
Every individual has formed habits, routine and modus operandi that they find safe and free from
hardship. Habits and routine can give a sense of control and often have a place be effective in dealing
with chores of day-to-day living. However, habits and not conducive to brining about new ideas and can
also make us change averse. Hence, to stretch our ‘muscles and stamina’ for creativity, it is important
to challenge our comfort zones both as individuals and in terms of group dynamics.236
The Buddhist speaks to the need for letting go of ego by focusing on how we may be of service to
others. Kongtrül say that, “with less self-importance, life becomes very straightforward and simple”.237
By bringing our intention to contributing to the wellbeing of the commons (a team, an organisation, a
network, or society as a whole), we will simultaneously improve the quality of life for ourselves.
Simplifying our lives means having a clear intention of purpose manifested in the way we live our life
and direct our mind.238 I believe that insecurity and a threatened ego breath bickering and selfish
shortsighted action. Letting go of attachment to outcome, opens up for mindfulness and presence in
any situation that is essential for creative flow. When we remove ego from a situation we can also free
ourselves to move beyond our habits, and customary comfort zones. In a sense, allowing creativity to
blossom in a group context means to let go of ego to embrace the unknown. But at the same time
make sure not to push the boundaries so far out that participants get truly scared. Hence, it is
important to bring about a dynamic shifting in and out, between and within zones of comfort.
Manzini, E. Jegou F. (2003) Sustainable Everyday. Scenarios of Urban Life. Milano: Edizioni Ambiente. Other interesting
sources include: Ceserani, J. (2003) Big Ideas – putting the zest into creativity and innovation at work. London: Kogan
Page Ltd., Robinson, A.G. & Schroeder, D.M (2004) Ideas are Free – how the idea revolution is liberating people and
transforming organizations. San Francisco: Berrett-Koehler Publishers, King, C. (2005) Creating Partnerships – Unlashing
Collaborative Power in the Workplace. Santa Barbara: The Wisdom Way.
234 This idea was given to me by Joe Michalef, a colleague from MA in Creativity and Innovation at the University of Malta.
235 Please see Exercise 4 for an introduction about the Six Thinking Hats by Dr. Edward de Bono.
236 Ceserani, J. (2003) Big Ideas – putting the zest into creativity and innovation at work. London: Kogan Page Ltd., De
Bono, E. (1992) Serious Creativity. London: HarperCollinsPublishers & Michalko, M. (2001) Cracking Creativity – the secrets
of creative genius. Berkley: The speed press
237 Kongtrul, D. (2005) It’s up to you – the practice of self-reflection on the Buddhist path. London: Shambhala p. 102
238 Ibid. p.102
233
54
Activities:
ü
Sketch a make a map of what makes you feel comfortable and what you need to be happy. Now
turn the page around, and draw out a situation or influences that could shatter your world. Draw
yourself in a situation where this happen. Take a few minutes to reflect on how this would feel.
ü
Brainstorm alone. Make a list of elements that make you feel uncomfortable. Make a pledge to
engage with at least one of those things within a defined period of time.
ü
Clothing is often used as a shell to communicate who we are or who we want to be. To challenge
this, ask participants to wear a white sheet or coat for the first two days of a workshop. On the
third day give paint their overcoat with colours reflecting their moods, inspiration and
aspirations.
Connecting with Nature
I have talked about the importance of connecting with nature to access our innate creativity above.
Human beings are nature, and we are part of the ecosystem, however over the past couple of centuries
we have become increasingly alienated from the web of nature of which we are part. Several of the
exercises below seek to re-energise human connection with the natural world. However, here is one of
the more direct approaches.
Being in wilderness in order to gain new perspectives, peace and serenity. The quest is to get into a
mental space in which inspiration can be gained and to see situations and an issue with new eyes. Otto
Scharmer talks about how there are two ways of learning. Learning from the past and learning from the
emergent future.
Activity:
ü
Find a place outside where you can sit undisturbed. Identify something around you with witch
you would like to engage in a silent dialogue (i.e. a flower, tree, lake, rock, landscape). When
you know what to engage with, close your eyes and start your conversation. Stay in stillness for
some time, and at least five minutes. Try not to control or manufacture the conversation with
this other. How does it feel? Does your “counterpart” communicate back to you? Are you
gaining any new insights from your stillness?
ü
To train sensory awareness and to accept assistance from another whilst living with the whims
of the moment, Joanna Macy prepared the Mirror walk. It promotes a deep ecology perspective,
seeing our interrelatedness with the ecosystem. Questions for discussion may include: What
feeling arose from being guided, or guiding? What surprised you? What did you learn? What new
insights did you gain for the healing of our planet?
Box 13. The Mirror Walk
“Forming pairs, people take turns being guided with eyes closed, in silence. Deprived of sight,
they have the chance now to use their own senses with more curiosity and wonder than usual,
and to experience trusting another person with their safety. Their partners, guiding them by the
hand or arm, offer them various sensory experiences – a flower or leaf to smell, the texture of
grass or tree trunk, the sound of birds or children playing- all the while without words. The
tempo is relaxed, allowing time to fully register each encounter. Every so often, the guide
adjusts his partner’s hand, as if aiming a camera, and says, “Open your eyes and look in the
mirror.” The ones being guided open their eyes for a moment or two, and take in the sight.”239
Macy, J. & Brown, M.Y.(1998) Coming Back to Life – Practices to Reconnect Our Lives, Our World. Gabriola Island: New
239
55
Dance
“God respects us when we work, but loves us when we dance”
- Old Sufi Saying240
Movement and dance may be experienced as foreign and challenging in a workshop setting by many. In
our modern day lives we are not accustomed to express, and communicate through our bodies, but
rely mainly on words, images and sound. I contend that we often suppress the sensuous abilities of our
bodies. Dance is about expression, and not about looking pretty or being good. But for many it
represents a challenge far beyond the boundaries of any plausible comfort zone. And because of this, if
the initial hurdles and prejudices against movement can be curtailed, the benefits of using dance, as
part of a creative process, it may be even more potent than other media. The key in dance is to
exercise the ability to let go, encouraging the ability of being a witness to oneself and to the world.
Dance is about connecting the body, soul and heart, and is not about passing judgement or about
doing right or wrong. In dance there may be flow, boundaries, disruption, confusion or silence. And
whatever expression comes out, is the right one in that moment.
Activities:
ü
Holding hands, silence, put on music, and start walking slowly around to the music. See what
emerges. One person initiates a move, and the rest will follow, the second person over initiates
another move and again everyone repeats… everyone will have to give their one move and
everyone will have to mimic this as a offering in return. Stillness is also an expression. The
group walks slowly in circle or back and forth when none is giving their movement. The
facilitators’ role is to keep the continuous flow of moves, repetitions gests and moves given and
repeated.
ü Based in the 5-rhythm practice of Gabrielle Roth. Dance to the four elements earth, fire, water &
air, closing circle with a tribute to stillness coming back to self.241
Dialogue
The concept of Dialogue is inspired from the Greeks, and it means, “talking through”. It was
established as a way to exchange ideas without an objective of changing the others point of view.
Dialogue is facilitated to deepen understanding and broaden perspectives. Bohm & Krishnamurti speak
to the importance of learning how to listen well to foster an effective dialogue or a stream of
communication. However, they recognise there is a complexity in listening, as it is difficult to listen
without having an attachment to the outcome.242 It is an added complication that our society endorses
competition rather than cooperation and hence listening is often not a well-exercised skill.
Socrates (470-399 BC) was a proponent of developing listening and reasoning skills. He introduced
what was to be known as maieutic inquiry from the Greek word maieutikos, which means ‘midwifery’.
Socrates based his approach on the axiom that “unexamined life is not worth living”. There are three
components making a Socratic inquiry happen; the inquirer, the object of inquiry, and the process of
inquiry. Dimitrow note that “the practical application of maieutic inquiry lies in the symbiosis of personal
as quoted in Roth, G (1997) Sweat your Prayers – Movement as Spiritual Practice. Dublin: Newleaf. p. 11
Simplified and adapted from an exercise taught by Susannah & Yakov Darling Kahn at the 5R movement medicine
workshop, Devon UK, March 2007.
242 Krishnamurti, J & Bohm, D. (1985) The Ending of Time – Thirteen Dialogues Between Krishnamurti & Bohm. London:
Victor Gollancz Ltd. p. 76
240
241
56
with social, of ‘subjective’ with ‘objective’, of ‘internal’ with ‘external’, etc.”243 The Pythagorean School
(520BC) provided the basis for the Socratic inquiry process. The school addressed the process of
gaining new insights and creativity through inspiration, authenticity with a process, object or situation
seeing ultimate truths and finally exercising the ability ask profound questions to gain insight to self
and phenomena.244
Open dialogue allows for emergence of ideas and understanding in the space between individuals. I
see parallels and that there are important lessons to be learned in terms of setting boundaries yet
remaining open in the dialogue in the getting to yes approach promoted by Fisher with the Harvard
Business School. The getting to yes approach is about going into a negotiation with clear intentions of
attaining a mutual gain for both parties, by shying away from bargaining positions and bring clarity of
interests. The idea is that when focus is on the interest, there is greater likelihood of reaching an
optimal solution. However, what I find particularly interesting to bring into a dialogue from the ‘getting
to yes approach’ is the notion of BATNA. A BATNA represents the best alternative to a negotiated
agreement. It is commonly not expressed as it represents a fallback position and is the alternative that
either party will opt for if the negotiations fail to meet interests. In this way the BATNA represents
boundaries. A dialogue is typically not stating individual boundaries, but ground rules for what is within
the scope of the dialogue and what is irrelevant for the purpose of the desired process.245
The basic rule of dialogues are; one speaker at the time, no arguments, no interruptions and
engagement in careful listening. Dialogues are improved as participants develop an appreciation for
the mystery of unfolding meaning. A dialogue is often most effective when focused on an important
question that can generate meaningful inquiry.246 Please see section about Listening below.
World Café as a Framework for Dialogue:
A World Café is a conversation tool in which an informal welcoming café setting is constructed in order
to facilitate a dynamic flowing collaborative dialogue. The imagination is the main limitation for the
possible variations and structures for a world café. Some key elements for a constructive world café
include having a clear purpose of the dialogue, and that the questions explored are the core questions
for the participants. It provides an opportunity to connect diverse perspectives and gives a good
setting for new ideas to emerge as a significance of synergies between partakers. Another element of
the world café is that the participants are free to move and partake in conversations in accordance with
their interest. Whole Systems Associates specify, “the café is built on the assumption that people
already have within them the wisdom and creativity to confront even the most difficult challenges. Given
the appropriate context and focus, it is possible to access and use this deeper knowledge about what’s
important”.247
Dimitrow, V. (Search March 2007) www.zulenet.com/vladimirdimitrow/pages/complexthink.htm
245 Fisher, R. & Ury, W (1992 2nd ed.) Getting to Yes – Negotiating an agreement without giving in. London: Random House
& Isaacs, W. (1999) Dialogue and the art of thinking together. A pioneering approach to communicating in business and in
life. New York: Doubleday - Random House, Inc.
246 Michalko, M (2001) Cracking Creativity – the secrets of creative genius. Berkley: Ten Speed Press p. 256., Bohm, D. &
Peat, D.F (2000 2nd ed.) Science, Order & Creativity. Cornwall: Routledge please also see Conklin, J (2006) Dialogue
Mapping – Building Shared Understanding of Wicked Problems Chichester: Wiley
247 Whole Systems Associates (2002) The World Café Presents… a quick reference guide for putting conversations to
work… www.theworldcafe.com & Brown, J. (2005) the World Café – Shaping our Futures Through Conversations that
Matter. San Francisco: Berrett-Koehler Publishers, Inc.
243
244
57
Box 14.
Café Conversations
- Agree on café etiquette (ground rules)
- Four to five people per table
- Each table has a host
- Two or three rounds of conversation (20 – 30 min each)
- Key questions guide the discussions
- Encourage note taking, drawings and/or doodling
- Ideas, questions and themes will likely connect between the different
conversations
- After several café conversations, initiate a plenary conversation to summarise
and share experiences
Elements for Café Etiquette
- Focus on what matters
- Contribute with your thinking
- Speak your mind and heart
- Listen to understand
- Link and connect ideas
- Listen together for insights and questions
- Play, doodle, draw, and write on the tablecloths
- Have fun and show respect for others!
Adapted from © Whole Systems Associates (2002) The World Café Presents:
a quick reference guide for putting conversations to work…
Open Space Technology (OST)
OST is a technique that can be good when working with a very large group that needs to interact with
both issues and dynamics of high complexity. It is a form of chaordic dialogue arranged around the
issues that are brought up in the group at the time of the open space meeting. The way it works is that
individuals post topics on a prepared notice board and individuals convene with those who are
interested in discussing the same topic. Typically three sessions are organised, and participants rotate
after each session. The only law in OST is “if at anytime during our time together you discover that you
are neither learning nor contributing, use your two feet and move on”. Harrison Owen the inventor of
OST says,
“The only way to bring an Open Space gathering to its knees is to attempt to control it. It may,
therefore, turn out that the one thing we always wanted (control) is not only unavailable, but
unnecessary. After all, if order is for free we could afford being out of control and love it. Emergent
order appears in Open Space when the conditions for self-organization are met. Perhaps we can now
relax, and stop working so hard.”248
Activity:
ü
Joanna Macy introduces the exercise the council of all beings. This is a process in which
participants take on roles as different beings and entities to engage in dialogue to express and
share their concern for planet earth. In their role, each being tell the truth about how they see
what is happening to their world and seek strength in shared experiences to move beyond
248
Open Space http://www.openspaceworld.com/brief_history.htm (Search August 2007)
58
despair. As I find the exercise particularly powerful I have included an adapted version in the
textbox below.249
Box 15. The Council of All Beings
1. The mourning for something we have had to let go of. In this phase strong feelings of anger and grief
may well up. It can be helpful to ask the participants to bring an object that can symbolise what they
are mourning about.
2. The remembering our ancestors, and our connections thought history and how we are part of and
continuously influenced by the elements (earth, air, fire & water). The knowledge is within us,
harnessing the intellect, imagination and intuition will help participants play out this stage. Body
movement, sound, or a guided visualisation on aspects called in can also prove effective. This may be
framed as a journey through time.
3. The participants speak on behalf of other life forms; this is the culmination of the council of all beings.
This is a way to acknowledge and commune with other beings on planet earth with we are
interconnected with and who are deeply affected by our actions. It is not necessary for participants to
have in depth knowledge about the life form they are speaking on behalf of. According to Macy,
participants should choose, or rather let themselves be chosen to speak up, through the sensory and
intuitive. Hence, a meditation, or moment of silence may be appropriate as a preamble. After this,
participants will prepare and create a mask, and if desired a full costume, to help transform into the life
form they will represent.
Once the council of all being commence, prayers, drumming, chanting, as well as native American rituals
such as calling in four directions and smudging of sage or cedar might be effect full to create a conducive
and meditative space for deep knowing, listening and sharing. It is recommended that a talking stick or
other appropriate object be used to bring attention to the speaker. Macy concludes, “Participants in the
ritual invoke the powers within themselves that they want strengthened. These bowers are available to us all
because they inhere in the web of life … that web is what we are.”250
Desired outcome: Building and recognising relationship with other beings, processes and elements on
planet earth. Develop an intuition and deeper sense of connectedness and move towards new insights to
approaches responding to the needs of planet earth rather than the human race alone.
Journaling – a Personal Dialogue
Journaling is for many an important help in venting thoughts, ideas as well as recording emergent
insights. For me, journaling is a way of understanding my own journey, to bring order to clutter in my
brain and a simple technique to access my creative flow.
Journaling can also be a good support at any time during a workshop. Choose a word, theme or
phrase, something that emerged in the previous process have everyone in the group relax and take a
pen to spill out their feedback and feelings about the issue. Just write, no thinking, the purpose is to
release constraints by inner judges and preconceived notions of what is good to write or not. Whatever
comes is the right thing to write. It may also be helpful to set off journaling by giving a first sentence
that participants have to complete. I do not think it is advisable to expect participants to talk about or
read from their journals, but you may of course ask whether someone would like to share. It is
important that participants feel as free an unconstrained as possible to allow their inner voice to speak
freely through the journaling. This is intended as a process to clarifying thinking for the individual, and
participants will often share what they feel may be beneficial insights for the overall group. However,
whilst the technique is aimed at individual processes, the creative process for the group often benefit
249
250
Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press p. 198 - 205
Ibid. 205.
59
greatly from improved individual clarity and awareness. Well functioning tams of groups are made up of
individuals that thrive together.
Activities:
ü
Ask participants to bring a new notebook and spiritual text that speak to their heart and soul.
Invite everyone will read their text, and to express what it evokes in them. After each person
have presented their text, you may suggest that that the text be inserted in the notebook and
that everyone spends a few minutes to write down their intentions and wishes for the use of the
notebook, as well as what main issues they would like work with in the coming week. You may
bring attention to the power of daily journal writing. Cameron suggests a good way to free
creative energy is to write three pages worth of whatever every morning before doing anything
else. I have personally found this a good help in clearing the mind and enable focus for
whatever I truly want and need to work with.251
Letting go…
Holding on is about claiming ownership to the past and the future. Letting go can only happen in the
present, and it is the act of detachment to a time that is not now that truly frees our ability to welcome
change with creativity.
Activity:
ü
Arrange the group around a cycle of tables with paint, paintbrushes and big sheets of papers.
Ask the participants to start paining a picture with their emotions as the only reference. No
judgement. After 1 minute of painting the sheets are circulated clockwise, and the participants
continue painting for one minute on their neighbours paining. After one minute, the painting is
circulated again, and so on.252
Listening
The ability to be present is a condition for good listen skill. Listening enables us to engage with the
authentic meaning of the words of another, and is an essential ability in order to gain new insight both
for an individual and for a group. I consider that without effective listening consensus, co-creation and
synergic creative energies within a group cannot be triggered. Listening has many forms and
expressions from the personal and introspective to the gregarious. Creativity can sprout by intense
listening to our own pulse, the energy of nature around us, and by being acutely present in a
conversation with another or a group. Listening brings insight, insight facilitates change, and change
can be challenging, or was it the other way around...
Adapted from Roth, G (1997) Sweat your Prayers – Movement as Spiritual Practice. Dublin: Newleaf p. 110 – 111 & the
writing log idea expressed in Cameron, J (1994) The Artist’s Way – a course in discovering and recovering your creative
self. London: Pan Macmillan Ltd.
252 Adopted from an activity facilitated by Azul Thomé at Schumacher College November 2006.
251
60
Box 16. Tips for Listening253
 Work with a talking stick
 Look at the speaker
 Listen to yourself as you speak
 Speak your truth
 Trust your intuition
 Listen for underlying assumptions
 Listen to yourself as you speak
 Suspend judgement
 Ask questions
 Allow silence to happen!!!
Activity:
ü
Organise a role-play of where the participants interrupt each other intentionally. This can be
an effective icebreaker as a reminder engaged listening.
ü
Initiate the fishbowl technique (please see textbox)
Box 17. The Fishbowl Technique
“Place five or six cushions in the middle of the room in a circle, within a larger circle of chairs.
Voluntaries sit on the cushions, leaving one empty, and begin a dialogue on a selected topic. After about
five minutes, when the conversation is well underway, the empty cushion becomes available for anyone
from the outer circle… and someone in the centre… moves back to the outer circle, vacating a cushion
for someone else. People continue to join the inner circle, and leave after speaking, until a sense of
resolution is reached, or the allotted time is up.”254
Scenarios & foresight
It can be quiet inspiring and powerful to envisage desirable, futures by way of scenarios. Scenarios are
designed ignited with ideals and possibilities and can thus be an effective mechanism to pick up on and
promote trends and choices towards a more sustainable future. Scenarios may play a central role in
co-creation activities or applied in a broader context as a starting point for a social and community
design process in which designers act as facilitators. Manzini and Jegou note that “to make scenarios
means to detect promising signals and identify how they could turn into reality”.255 Similarly, the
Hudson Institute defines scenarios as “attempts to describe in some detail a hypothetical sequence of
events that could lead plausibly to the situation envisaged”.256 Drawing up scenarios is best facilitated
as a team effort as complexities of the envisaged future should be accounted for. For this reason every
single aspect of the scenario development is likely to evoke a lot of discussion, hence it is important
that enough time be allowed. Scenarios may be particularly potent as part of a foresighting process.
FOREN define foresight as “systematic, participatory, future intelligence gathering and medium-to-long
Inspired by Joanna Macy, David Bohm, David Peat & World Café.
Macy, J. & Brown, M.Y.(1998) Coming Back to Life – Practices to Reconnect Our Lives, Our World. Gabriola Island: New
255 Manzini, E. & Jégou, F. (2003) Sustainable Everyday. Scenarios of Urban Life. Milano: Edizioni Ambiente
256 The Year 2000 A Framework for Speculation on the Next Thirty-Three Years By Herman Kahn and Anthony J. Wiener with
contributions from other staff members of the Hudson Institute, Introduction by Daniel Bell, The Macmillan Company, New
York, N.Y. Collier-Macmillan Limited, London, 1967, pp. 262-264; © Hudson Institute
253
254
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term vision building process aimed at present-day decisions and mobilizing joint actions”.257 The idea
behind the process is that developing and clarifying perceptions of desirable futures enhances the
chance of achieving a future that is partially or completely line with the envisaged. Thus, foresight can
be an aid for helping organisations to formulate a clear systematic long-term strategy for action.
Box 18. 10 steps to Scenarios
Step 1. Identify the focal issue or decision
What does the concept of sustainable enterprise hold?
Step 2. Selection of Leading Indicators and Signposts
Step 3. Key Forces in the Local Environment
Step 4. Driving Forces
Step 5. Rank by Importance and Uncertainty
Step 6 Selecting Scenario Logics
Step 7. Fleshing out the Scenarios
Step 8. Implications (Carry out SWOT analysis258)
Step 9. Selection of Leading Indicators and Signposts
Step 10. Additional Considerations for Creating
Scenarios
- Adapted from Schwartz259
Sound
Macy quotes the Zen poet Thich Nhat Hanh who says, “What we need most to do (for the healing of
our world) is to hear within us the sounds of the Earth crying.”260 Sound generates movement;
movement is change that gives resonance with our heartbeat. Our heartbeat brings flow to our breath
of life. In this way, new insight may spring from rhythm and sound. So what can be more natural then,
but to let the music play to give new flow for our breath, and a rhythmic beat to ignite our inspiration.
Music brings forward a different language as a basis for movement of thought, body and senses.
Sound and music is key for gaining new perspectives.
Activities:
ü
Prepare a medley of songs. Invite participants to contemplate a theme for a few minutes and
then let the music play.
ü
Invite participants to engage with the music by moving and breathing with the music.
ü
Restart the music, and ask participants to bring out their notebooks to record their associations
in writing or as visual images such as doodles, pencil drawings or a non-figurative display of
colours.
FOREN-A guide to regional foresight (EU: 2001)
A SWOT analysis prompts an overview of scenario (or project) related Strengths, Weaknesses, Opportunities & Threats
259 Schwartz, P. (1998) The Art of the Long View – Planning for the future in an uncertain world. Chichester: John Wiley &
Sons, Ltd. pp. 242-244. Other interesting sources on scenarios work include: Lindgren, M. & Brandhold, H. (2003)
Scenario Planning – the link between future and strategy. New York: Palgrave Macmillan, Van der Heijden, K. (2005 2nd ed.)
Scenarios – the art of the strategic conversation. Chichester: John Wiley & Sons Ltd. & Van der Heijden, K. et. al. (2002)
The Sixth Sense – Accelerating Organizational Learning with Scenarios. Chichester: John Wiley & Sons Ltd.
260 As quoted in Macy, J. & Brown, M.Y.(1998) Coming Back to Life – Practices to Reconnect Our Lives, Our World. Gabriola
Island: New Society Publishers. p. 91
257
258
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Stillness
Silence, stillness and pause are essential for rejuvenation. Creativity is an ongoing process seems to be
helped by un-focusing, but taking time out to do other things or to simply engage in stillness. Every
session or workshop may be initiated with a brief period of silence to bring the intention and energy of
participants into the workshop. To be in our bodies and in the moment gives a feeling of grounded
ness, and can be important in unlashing creative potential. Meditation can be effective in learning to
still the stream of disturbing thoughts in our minds. However, honouring the need for stillness in a
group may be facilitated by simply inviting the group to sit in silence for a minute at the beginning or
end of a session. If you want to spend more time with stillness, here is a brief initiation to encourage
stillness of mind and body.
Activities:
ü
Listening to self. What does your body have to tell you? What images occur, where does your
energy flow? Invite stillness into the depths of your soul. Communing with the land within
oneself. Silent meditations. Coming back to self. Peace!
ü
Observing expressions. Enjoy a day (hours) in silence to observe the rhythm of nature and the
rhythm of the self’s need for chatter and distractions from being present in the now. On words
should be used this day, emotions, thoughts, senses and the intuition may be explored through
movement, music, drawing, painting or other artwork.
Story Telling
We are living stories. Our lives are a continuous unfolding of parallel and enabled stories. Early history
was passed on to the next generations through story telling. In modern day of age we are again
reminded about the power of oral traditions and to exercise the imagination not only through the
written word or the eye as we do when we watch a movie, but also to reenergise the art of imaginative
listening. I suggest that story telling be given a central role in any workshop about creativity. Ideas are
rooted in the intersection between practical life and our imagination. This is where stories become a
potentially powerful spark off.
Activity:
ü
Arrange the group in a circle. Invite participants to tell brief (i.e. 3-minutes) stories capturing
one message for example a story about co-creation, communal action, success or failure.
ü
Find an image you feel illustrate something you would like to communicate and dialogue about
with the group. Ask the group to observe and experience the image to start developing a
relevant story they can share with the group. See what emerges.
Time – Experience and Reinvention
In our fast past paced society we seem want to put as much as we can into our day. Our success is
measured in quantity and breath of achievements rather than quality and depth. We are conditioned to
understand time as a linear entity rather than an expression of evolution and its many aspects. We
have become accustomed to appreciating qualities of life as fast and ordered, rather than deep and
wild, advancing a one-dimensional society before one of diversity and multifarious natures.
I consider that our understanding and expression of time plays a key role in shaping our ability to
address and find solutions to the prevailing environmental crisis. Working with our relationship to time
is a way to strengthen our sense of belonging and evoke feelings of responsibility and empowerment to
act with present an on behalf of future generations. When we are caught up in everyday life we often
feel like we want to escape time, but an escape will only temporarily reduce our stress because what is
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problematic is our perception and experience of time, not time itself. Hence, we need to become friends
with time, and seek ways of experiencing the richness and fullness of time in all its facets connecting us
to the past, present and future.
Jay Griffith points out the similarity between our need for wilderness and the need for wild time. We
control our lives and wild is something that needs to be tamed.261 However, as creativity is born at that
edge of chaos, I consider that our relationship to time also dictate our ability to be creative. If we only
live in fast and ordered time, creativity cannot blossom. We need the wild, we need unruliness, and
most of all we need to welcome the wild time within ourselves.
Activities:
ü
Stop wearing a wristwatch.
ü
Program yourself to wake-up without an alarm.
ü
Prepare a guided mediation aiming to help the participants to visualise and experience possible
scenarios for the future.262
ü
Joanna Macy has designed an exercise to invoke a close association with beings of past, present
and future; she calls this to engage in “evolutionary remembering”.263 This can be initiated as
individual written work followed by the fishbowl technique (see above) where the participants
take on the role of separate ‘time beings’, and the fishbowl holds the meeting. It is important to
allow enough time for everyone to be in the fishbowl.264
ü
Invite the group swap chairs with someone at the other side of the room. Take a notebook and
write down some “wild” activities that they enjoy doing but may not have engaged in for a while.
Reflect on the sense of time associated with these activities. Invite participants to share their
notes with two other people, and identify three “wild” activities that could be done together
whilst still in the workshop.265
ü
Summon the group to co-create a collage about wild time. Discuss and reflect on the work
afterwards.
ü
Engage participants in preparing a time experience log over the course of a few days where
they record different experiences of time.
Visuals: Drawing, Doodling, Painting, Photography & Sketching
“Practising Goethean approach to science involves heightened methodological awareness and sensitivity to the
way we engage in the phenomenal world. We need to overcome our habit of viewing the world in terms of
objects…”
- Craig Holdrege266
I find visual arts to be an effective way to approach a challenge to recognize and bring the
unconscious, sensuous, intuitive and emotional aspects into view. The idea is to engage in visuals to
discover underlying or unexpressed aspects that may reveal itself or be provoked by the image. The
assumption is that the individual may gain greater insight and develop a better understanding of
themselves and the way they relate to the people and the world around them. For this reason, visual
261
Griffiths, J.(1999) Pip Pip – a sidewise look at time. London: HarperCollinsPublishers Ltd
Joanna Macy has developed a potentially powerful meditation and group exercise addressing this theme. Please see
Macy, J & Brown, M.Y. (1998) Coming Back to Life – Practices to Reconnect our Lives, Our World. Berkeley: New Society
Publishers pp. 142-143
263 Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press p. 215.
264 Adapted from Macy, J. (1991) World as Lover, World as Self. Berkley: Parallax Press p. 206 - 219
265 This activity should not be initiated on the last day of a workshop unless it is a group that will continue working together
in the coming weeks.
266 Holdrege, C. (n.a.) Doing Goethean Science. The Nature Institute
262
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arts are a much-favoured medium in certain branches of psychotherapy such as gestalt therapy, art
therapy. Art therapist Vaccaro stated, “If I ask a question, they tell me very little. But if I say, make a
drawing of your family, sometimes they say a lot more”.267 It is also a favoured way of gaining a
deeper understanding of the subconscious, realms of the emotional and unarticulated in Jungian
psychology, also called analytical psychology. In short, Jungian psychology aim to foster an integration
of the underlying forces for human behaviour by applied phenomenology based on artwork, dreams,
folklore and mythology.268 Moreover, Both Goethe and Steiner were strong proponents of working with
visual medium, and particularly drawing, to gain a deeper understanding of the phenomenon of the
subject, as supposed to an object, such as for example a plant, an animal or a place. Goethe says;
“People should talk less and draw more. Personally, I would like to renounce speech altogether and,
like organic nature, communicate everything I have to say visually.”269
Activities:
ü
Take a digital camera (digital as you can then dispose of the photos after) with you outside and
shoot anything you see. Just go mad! When you come home download the photos on your
computer. What was your journey? What did you see? What caught your attention? This exercise
may also be done with a group. Discuss the findings?
ü
Go outside with pen and paper and find a quiet place. See what catches your attention and start
drawing. What do you see? How does the subject of your attention reveal itself to you? There is
no rush. Ideally try to come back to the same spot every day for a week. How does your
relationship with the subject evolve?
ü
I like to work with doodling by drawing out issues or problems as matchstick figures. The intent
is to see the relationship between different elements in a problem or dilemma, and not to pay
too much attention to the drawing itself. This can be played out as an isolated scene to go into
specific aspects, or a cartoon with a sequence of events depicting a process. The intent is to
bring new insight and understanding, to see the situation from a new perspective assisted by
figures instead of words. Use this approach in short time sequences or as part of a longer
process. It can also be developed into a more elaborate painting or drawing exercise working
with layers whilst adding colour. I suggest not spend too much time on any one aspect. It is not
about making the drawings look pretty, but about creating an expression to see an idea,
situation or process from the outside in order to bring about new perspectives to a seemingly
closed set of circumstances. The intent is to draw without thinking and censoring to avoid
getting caught up in presentation as this easily detach us from intuitive and emotional ways of
knowing.
Writing
For most people in academia and in our verbal thinking type culture, the written word is associated with
delivering expected outcomes; it is our conventional way of communicating and working with the
development of thought. The greatest protagonist for understanding the world by engaging with it
through observation and drawing is one of the greatest writers the world has seen. I am talking about
Goethe. 270 He accessed his creativity in writing through the sensory, but also, wring became cleansing
process for him helping him to be in tune with his senses and the intuitive. Hence, as for so many
Beeson, Ed. (2006). "Picture of Hope". Herald News. December 5, 2006
http://en.wikipedia.org/wiki/Carl_Gustav_Jung (Search July 2007)
269 As quoted in Premauer Marroquin, J.M. (2004) Goethean Science and Drawing as means of connecting the self to the
world. Dissertation submitted for MSc in Holistic Science. Schumacher College p. 21
270 Please see a discussion of Goethe and Goethean Science in Ch. 2.
267
268
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things in life, it is not about either or but both and.271 However, writing may of course also be a
creative endeavour, and a tool that may help us to understand and see the world in new ways by
accessing our intuition, feelings and senses in the writing process. I consider there are at least three
major obstacles to engaging in a creative change process and I have experienced them through
reluctance to writing in particular. Otto Scharmer address them as the “three enemies of change”, they
include judgement, cynicisms and fear.272 In the book, The Artist Way, Julia Cameron has developed a
12-week programme for discovering and coming back to ones creative self through questioning,
visualisation and writing. The idea is to shift habitual patters of assumptions, perceptions affecting
behaviour and reactions by gaining insight to established patterns, challenge comfort zones and seek
exposure to new experiences.273 Cameron developed a program largely involving writing, to help break
down creative blockages, which she assert is a “form of self-destruction”. Cameron says, “Creativity
requires fait. Fait requires that we relinquish control. This is frightening, and we resist it.”274
Activities:
ü
Identify a concept or notion that interest you. Giver yourself five minutes to write 100 words
about this concept. Not more, not less, only 100.
ü
Bring a journal with you to a quiet spot outdoors. Find something that attracts your attention.
Start describing and exploring this phenomenon with your words. Write down what you see, feel
and intuit. Don’t judge yourself. What associations appear? Allow yourself to let the
phenomenon take you on a journey of in your own words.
ü
Engage in daily journaling… your call, and your freedom!
272 Scharmer, O. C. (2007) Theory-U: Leading from the future as it emerges – the social technology of presencing.
Cambridge: Massachusetts. p. 100 (2007) p. 42 – 43
273 Cameron, J (1994) The Artist’s Way – a course in discovering and recovering your creative self. London: Pan Macmillan
Ltd.
274 Ibid. p. 193
271
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Exercises prepared for the Sigdal workshop
Exercises marked by a star * were tested during the workshop. Commentary and reflections to this and
the overall programme are included in Chapter 5 and in Appendix 6 which is a personal log written at
the time as the facilitator.
Exercise 1 - Opening Circle with Ice Breakers*
- Time estimate: 1 hour
Objective: Develop a jovial, playful and open atmosphere
Give the group 5 minutes to collect themselves (variation of Ex. 9 – before we begin) to
figure out what they want to say and how they want to present themselves. Encourage a
colourful artistic presentation, whilst drawing on available means.
Sitting in a circle, everyone present himself or herself by name, profession, why they are
there, what they want to contribute, and what they wish to take back from the workshop. At
the end of their presentation each participant should give three statements of which 2 are true
and one is false. Everyone else should guess which one is right and not.
Alternatives:
1. Participants are asked to bring one object about which they have a personal story to tell
that relates to their business dream, organisation or to their idea of a business venture in a
sustainable community.
2. Participants are asked to take 3 minutes to make a drawing, song, mime, poem, or write a
description of their notion of a business venture in a sustainable community. Each participant
will be asked to present this along with a brief introduction about themselves.
3. Participants are asked to find out at least ten things about at least ten people in the group.
They need to present these ten things after the enquiry. The exercise can be a good way to
move the attention away from self to the group.
Desired outcome: Participants feel like they are part of a team rather than a group of
individuals.
Exercise 2 - Open Spaces and Connections275
- Time estimate: 15 min
Objective: Bring attention to emergence and self-organisation
2.1. Participants walk around the room in silence, focusing on the open spaces between them.
Not looking at faces, not addressing the bodies, only focusing on the space between. Go faster
then slower, fluctuate the pace. This exercise may be assisted with drumming or music.
2.2. Now ask everyone to stand still for a moment. Look around the room see who are close to
them. What do they notice? How do they feel? Choose a partner, someone to observe. Do not
Inspired by Macy & Brown exercise: The Milling please see Macy, J & Brown, M.Y. (1998) Coming Back to Life –
Practices to Reconnect our Lives, Our World. Berkeley: New Society Publishes. p. 94 - 98
275
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inform this person that he or she will be observed. Look at how this person relate to the world
around standing sensing feeling. Ask everyone to start moving again, but now focusing on the
space around the person they observe. What happens? How do they feel? Do they manage to
move?
2.3. Pause for a moment. Ask participants to close their eyes for a moment. Take a deep
breath and prepare for one-to-one encounters. Let the milling continue but now ask
participants to move from one to another with offering gestures, a greeting, a word. Every
single individual should have devoted attention. Each meeting is only about 15seconds and
then both move on to the next person. Let this evolve for about 3 minutes. Notice what
happens? How do you feel? What emotions and senses arise? How do you experience time?
How do you experience the space? How do you feel in your body?
2.4. Ask everyone to gather in a cycle to discuss the experience. Use a talking stick to
structure the discussion most people will likely have a lot to say alternatively and dependent
on the size of the group, ask participants to gather in groups of 4 to share the experience.
Desired outcome: Awareness of free energy in open spaces, and fluidity that comes from this.
The possible stuckness when focusing on only one being or object. How everything may feel
cluttered just because we are out of control because we are seeking control and predictability
with a situation or a being.
Exercise 3 - Personal and Collective Visioning*
- Time estimate: 2 hours 40 minutes
Objective: Facilitate a divergent process to foster idea generation
2.1. 15 minutes
Gathering the group, getting started, introduction and questions
2.2. 40 minutes in the forest (weather dependent):
Free yourself from all preconceived notions of holistic science, educational models, what’s
possible, your own work, the shoulds and the haves and the buts and the ifs… and seek to get
in touch with a deep intuitive feeling of what your idea for a college of holistic science looks
like. Please go to a place in the forest with your notebook. You may write, draw, or create a
model with elements you find there. Your ideas do not have to be practical but need to feel
right even if they may not be feasible at this point. I only ask that you do not judge yourself.
What is a college of Holistic Science for you?
2.2. 30 minutes
Work in groups of threes (outdoor or inside, depending on the weather). Discuss your flavour
of a potential college and sense of ideas with two other people. Together, find a way to
present your vision of a college. Do you have a shared vision? Please prepare a few notes and
a drawing expressing how the three of you will engage with your vision whilst in Sigdal.
2.3. 1 hour 15 minutes (I had originally estimated 20 minutes)
Debriefing & Discussion
Desired outcome: Open Pandora’s box to display the wealth of exiting and vibrant ideas. To
think the unthinkable, and say the unsayable…
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Exercise 4 - Six Thinking Hats*
- Time estimate: 1 hour 45 minutes (Presentation: 15 min & Exercise: 1h 30 min)
Objective: Foster a mode of parallel thinking to identify the “landscape”, facts, alternative
ideas, challenges and opportunities.
The Six Thinking Hats, by Dr. Edward de Bono, are a convenient way of putting Parallel
Thinking into practice - this is very different from argument. The hats and colours are
designed to make Parallel Thinking a practical process that can be remembered and easily put
to use.
The Six Hats method therefore releases us from the argumentative mode as it helps
participants to lay out all views side by side in parallel and then to design a way forward.
With the Six Hats method it is possible to separate the different aspects of thinking instead of
trying to do everything at once.
By asking a person to put on a hat or take a hat off it is possible to acquire an easy, polite way
to encourage thinkers to apply each thinking process with equal effort, rather than being stuck
in one mode all the time.
The Six Hats method separates ego from performance. If someone does not like an idea, then
they are not going to spend much time thinking of the benefits or good points of that idea.
With the Six Hats, however, the thinker can be specifically asked to give, for example, a
yellow hat response. This is a challenge to the thinker who will not want to appear unable to
perform this way. This results in a thinker arriving at a position where he or she may change
their mind. Because the Six Hats quickly becomes a neutral game, the method provides a
very convenient way to switch thinking or to ask for a certain type of thinking.
The Six Thinking Hats method is practical and effective both on an individual and on a group
level. On an individual level, it encourages focus and directs the thinker towards a broad
exploration of the issue under discussion. On a group level, it encourages teamwork and
facilitates the elimination of conflict by means of parallel thinking.276
Sequence: White, Red, Green, Blue, Black, Yellow, Blue, and Red.
Desired outcome: Clarity on main aspects to address when shaping an action plan
276
De Bono, E (1985) Six Thinking Hats. London: Penguin Group
69
Exercise 5 - Remarkable Ideas & Purple Cows
- Time estimate: 1 hour 15 minutes
Objective: Generate ideas and approaches to develop a remarkable college with regards to a)
scope & curriculum b) organizational model & network c) deliverables & economy
To bring out remarkable elements and traits from projects and activities is what makes a
project worthwhile and thus also sustainable. Seth Godin calls this “purple cows”. In an idea
generation process, quantity is more important than quality, and censoring, conclusions, and
fear. Here we need courage, humour, along with intellectual, emotional and sensory risk
taking. Hence, in this exercise the ability to suspend judgment is key. However, when
examining the possible success of products and deliverables, a fulcrum of innovation can be
developed by way of scrutinizing the questions “Is it going to be successful? Is it worth
doing? Is this person able to champion the project?"277
NB: Outside if weather permits.
5.1. Divide the group into teams of 3 people.
Each group will agree on a means expression - i.e. movement, sculpture, drawing, theatre,
chanting, writing - and preferably integrating sensory experiences gained in meeting with
other living or non-living beings (trees, insects, rocks, wind, sun) in this exploration phase.
Each group should find a way to express (not necessarily articulate) at least 2 crazy,
uncensored and possibly remarkable ideas about: a) scope & curriculum b) organizational
model & network c) deliverables & economy.
Time: 30 min
5.2. All teams will join to embark on a rotation ideation process. One participant will start by
presenting one idea, the next person in the group will build on this idea, and so on. When it
seems difficult to build further on an initial idea. The group will examine the prospect with
the three above listed questions to identify the ‘fulcrum of innovation’. This exercise does not
call for detailed discussions, rather that participants take an open, curious and collaborative
attitude to the ideas presented. Please aim for approx 7 - 10 min (ideation and scrutiny) pr
idea. The team will repeat this process until all team members have had a chance to initiate at
least one idea. Session will be facilitated and a recorder will be appointed.
Time: 45 min
Alternatively do 5.2 in teams and then add a plenary component.
5.3. All teams present their core ideas to the whole group. Participants are kindly asked to
please hand in their notes from this ideation process.
Desired Outcome: Unlash new & inspirational ideas for a potential college initiation.
Exercise 6 - Me, I and my commitment
- Time estimate: 1 hour 30 minutes
277
Godin, S. (2004) Free Prize Inside – The Next Big Marketing Idea. New York: Portfolio Penguin Group Inc.p. 70
70
Objective: Identify a sense of personal commitment
NB: this exercise was prepared as a response to the turn of events during the dialogue session
of the workshop.
Ask each participant to go to a separate place in nature allowing some time of meditative
silence. After some time please identify 5 pieces or elements in the nature around you that in
some way or another may be an expression of your sense of the project. Play uncensored and
undirected with the pieces or elements in your minds or in real terms. Assign number from 1
to 5 to each element or piece and ask yourself the following five questions whilst touching or
looking at the element or piece with the corresponding number (make a photo):
1. What gives meaning to my life?
2. What am I fervent or zealous about? In other words, what makes me tick?
3. In what way may this project become an expression of my inner passion?
4. Is there one specific initiative I would like to champion within the context of this
project?
5. Who would I like to work with to ensure that this could happen?
I recommend that the responses and troughs be captured by note taking, mind map or
drawing.
The selection of the elements or pieces as well as the assignment of numbers should be
intuitive. Working with the elements might we a way of grounding the question to the natural
environment as well as to bring the attention away from the logical realms of our well trained
brains and to apply sensory faculties of our bodies. The exercise needs to be followed up by a
conversation or bohmian dialogue.
This exercise may also be done with movement. For movement it would be best if it were a
group that is already accustomed to work with movement expression and that it is something
that is done in a communal space, accompanied with note taking or drawing, followed by a
conversation or bohmian dialogue.
Desired outcome: Clarity with regards to personal commitment (at this stage)
Exercise 7 – Dialogue*
Objective: Facilitate a process to deepen and collect the scope of ideas & activities.
-
The dialogue may be recorder in an electronic mind-map.
A dialogue is forum for interaction to encourage exchange and exploration of ideas without
an objective of changing the others point of view. A dialogue is meant to be a open forum to
help deepen understanding and broaden perspectives. Active listening by all members is key
to a good dialogue. Only one person is meant speak at the time and the facilitator should only
interrupt this person if he or she does not keep to the agreed topic for scrutiny, or if the
contribution is too lengthy. It is helpful to set ground rules for the group before engaging in a
dialogue. For more about dialogues please see the description above.
Desired outcome: Uncover prevailing ideas, connections and emergent trends of interest
within the group.
71
Exercise 8 - Developing an Action Plan
- Time estimate: 2 hours (formal – but informally as long as the groups feel they need…)
Objective: To nurture practical recommendations and workable prospects by drawing on
commitment and passions expressed by teams.
The aim is to generate clear recommendations followed by already expressed commitment
and / or passions. In this way, the final recommendations should build on expressed passion
from within rather than notions of obligation or smartness. The focus should be on
agreements, practical action, and feasible suggestions. Unrealistic proposals will be put aside
for now, but can still be part of the overall vision.
Process:
1. Ground-rules, recorder, presentation, format, deliverables, indicators
2. Describe the task for which recommendations are needed (strategic goals,
decisions, priorities…)
3. Agree on a framework (one team one area or every one focus on everything?)
4. Ask each team to create 3-5 actionable recommendations in order of priority.
Make sure someone is accountable, and timeframe is recorded. Seek
agreement within working groups (team focus – synthesis on discussion so
far)
5. Post flipcharts & reports (Saturday evening)
6. Discussion (Sunday morning)
7. Circle agreements and decide on recommendations using consensus or
voting.
Desired outcome: Crisp action plan(s) stating task, core objectives, persons in charge, and
timeframe.
Exercise 9 - Before we embark on the last stretch…*
- Time estimate: 4 min
Objective: Stillness
8.1. Ask everyone to take 1 min to write down any thought they may have that is taking them
away from the present moment. No one will have to share what is on the note, the note is
written merely so that they know they can “pick-up” where they left of before they came into
to the workshop. This is a technique to help the mind relax with the idea that we are here now
and that other pressing obligations will be attended to in due course. Advise the participants
that if they have a reoccurring thought that is not willing to go away, they may resolve to
write a new note.
8.2. - 1 min silence.
Desired outcome: Focus and presence in the now.
72
Exercise 10 - Harvesting
Objective: Work towards and ensure a common understanding of vision and way forward
ü
ü
ü
ü
ü
Revisioning: Revisit Mission, Visions & Plans (need large sheet of paper)
Next steps…
What can we do?
What can I do?
Pledges: Make a pledge to take at least one action to move towards the vision (anything is
possible with commitment and action)
Desired outcome: A clear focus and commitment to the project.
Exercise 11 - Closing circle*
- Time estimate: 1 hour
Objective: A free space to honour the time together and bring forth aspects, ideas and issues
participants want to share or contemplate.
This may be a time to share intentions, pledges and plans, or simply a time to share a moment
in silence. The end of the closing circle can be a good moment to share information about
available resources, forthcoming actions as well as to distribute an updated list of participants
to encourage follow-up.278
Desired outcome: A sense of closure.
278
Adopted from the closing circle process at Schumacher College
73
5. The Sigdal Workshop, 3 – 5 August, 2007
Towards a College of Holistic Science in Norway
background, workshop summary, framework & process, methodology,
justification of approach, the workshop & the vision, agenda, feedback,
reflections on creativity & time, personal reflections
I hear and I forget
I see and I remember
I do and I understand
- Chinese Proverb
Background
The workshop came about as a result of discussions with three members of NaCuHeal that attended a
course at Schumacher College March 2007. They were contemplating the idea of establishing a
NaCuHeal college in Norway, and came to Schumacher to get inspiration and input for taking the
thoughts further. NaCuHeal is a foundation with a national network of centres that aim to contribute to
wellbeing and health by encouraging as well as facilitating cultural activities and recreation in nature.279
After much conversation we decided to organise this workshop as a way to spur engagement, initiative
and seek further input to kick off a process for initiating a college of holistic science in Norway. This
idea had been brewing within various organisations and groups for some time, and it seemed as if the
time was ripe to act and put ideas and initiative to the test. For me, the workshop was a good
opportunity to carry out the practical component of my dissertation to test out several of the concepts
and exercises I was developing as part of this endeavour.280
Workshop Summary
The workshop brought together eighteen people, of whom sixteen participated in the workshop, myself
included. Participants came from multiple backgrounds and not everyone was already involved or
familiar with the work of NaCuHeal. The participants were carefully selected as potential key people in
helping realise a college of holistic science in Norway.281
The main recommendations from the workshop included that the college should be developed
incrementally as an emergent, flexible network of interdependent ever-evolving learning organizations.
This would likely look much like a chaordic organisational structure. Moreover, the organisation should
respect and draw on local resources, knowledge and traditions at all stages of its operations and
development. The ecosystem is to be regarded as the main teacher for “whole living” within the
college. And finally, the grand vision is for the college to contribute to the development of a holistic
model of education in Norway.
Participants singled out four main areas of action for the next twelve months. This included scrutiny of
aspects pertaining to economics and finance, communications, networks and structure. Working groups
were formed in each one of these topic areas. It was agreed that the task force would as much as
http://www.nacuheal.org/ & http://www.nakuhel.no/
Please see Appendix 1 – Workshop Invitation
281 Please see the Participant-list Appendix 5 & Letter of Prior Informed Consent Appendix 6. To safeguard that I could
report from the workshop in this paper, all participants were asked to complete a form of prior informed consent during the
opening circle.
279
280
74
possible draw on input from students, and to draw on and explore possible synergies with ongoing
projects and initiatives. As a first step the team will meet in October to draw up an initial
communications strategy including formulating a crisp mission to guide the first phase of the project.282
Framework & Process
The intent with the workshop was twofold: first to test my own ability to communicate about creativity as
a vehicle to work towards a more sustainable future, and second to test and experience working with
the exercises I had developed to spur new ideas and initiative within the group. My primary focus for
the workshop was henceforth with the process and initially not with the stated workshop objective to
explore ideas for developing a college of holistic science in Norway. However, as I moved into the
workshop process, I found it artificial and problematic to separate the two. To secure tangible
outcomes and recommendations from the workshop, I found it necessary to put my own objectives for
the process aside in favour of generating commitment and potential for implementation.
I designed the workshop to give exposure to various aspects of the theory underpinning my
dissertation and the exercises I had developed in drawing on these approaches. In particular I sought
to trigger holistic perspectives by bringing attention to aspects of Deep Ecology and Goethean Science
as a frame of reference. Moreover, as suspended judgement is a key aspect of creativity, it was
important for me to bring attention to letting go of preconceived ideas whilst allowing the group
dynamics to move, in a metaphorical sense, to the edge of chaos where order is dissolved by chaos
and creativity is born yielding potential for new energy and flow. Finally, I wished to facilitate emergent
and actionable ideas through a flow of time, as I contend that creativity can only happen with time but
cannot be dictated by time.
In hindsight I recognise that the workshop design and process did not lend itself to exploring aspects
of Deep Ecology, Goethean Science and movement as much as I would have liked it to do. It feels as if I
have embarked on a process to understand how to communicate and facilitate for resilience to change
through creativity by way of these three aspects, but am very much at the beginning of the journey. A
journey that has begun with theory and hopefully will continue as an emergent process of embodied
knowledge.283 Below please find an annotated agenda with a commentary of workshop structure,
exercises and a reflection of the actual turn of events. But first; to provide a bridge between the
theoretical, conceptual and practical aspects of my dissertation I wish to bring some attention to my
approach.
Methodology
The scope and theoretical underpinning of the workbook, and therefore also the premises and
exercises for the workshop were developed based a comprehensive literature review, as reflected and
discussed in chapters one to three. To generate feedback and information from participants in the
workshop, I prepared a questionnaire asking for qualitative responses including a combination of
interview, meaning open questions, and questions using a likert scale. In addition I engaged in
conversational interviews with two participants. My primarily mode to generate insight and finings from
the workshop was by way of self and group observation recorded in a personal journal. My primary
indicators for the journal were:
1.
Responsiveness from group. 2. Adherence to workshop agenda. 3. Group dynamics 4.
Diversity and quantity of ideas & proposals 5. Quality of ideas (reflected in commitment to process)
Commitment to process whilst at Sigdal 6. Commitment and enthusiasm for follow-up activities. 7. Time
(experience of and adherence to). 8. Practical aspects proved imperative, this was not intended.
Please see Appendix 3 for a compete summary report from the workshop.
For more about the workshop process please see my personal reflection pp. and summary of feedback from participants
Appendix 4
282
283
75
Justification of Approach
The workshop in Sigdal was intended a test bed for the theoretical component of my dissertation. My
objective was to facilitate a holistic creative process drawing on perspectives from complexity theory,
whilst endeavouring to embed elements from Deep Ecology, Goethean science and movement as
aspects of the exercises.
I am fascinated by the idea of creativity being born at the edge of chaos, and wanted to find a way to
work with this notion, which I consider is a possibility within any complex system such as a group,
organisation or network. I contend that where people are together, complex dynamics of ambiguity and
unpredictability are inherent properties. As my objective is to work with creativity to help bring about a
more sustainable future, it was important to draw on approaches that encourage more holistic ways of
knowing as well as to foster a closer connection with the ecosystem of which we are part. Thus, it was
natural to seek out inspiration from perspectives of Deep Ecology, Goethean Science and movement as
a foundation to unlash creative potential in groups.284
I felt Deep Ecology was a natural starting point as it outlines a process based on acknowledging a
sense of ecological self through deep questioning and experience, wherein the assumption is that this
insight prompts a sense of deep commitment for action. I see this as an essential axiom and driving
force for personal engagement, providing a framework for bringing about change in awareness
manifesting as a u-turn in thinking and actions.285
Moreover, I experience Goethean Science with its emphasis on allowing the phenomenon to reveal itself
to the observer - recognising that every part is a manifestation of the whole, brings key insight that
may enable and foster new insights, shifts in perceptions and henceforth foster more holistic
approaches.
Finally, movement, and dance in particular, has always been an essential part of my life. Movement
prompts embodiment of feelings, senses and intuitions. Movement seems hampered by an active mind,
and for this reason I feel it is a particularly powerful approach in working towards new insights and
solutions.
Please see figure 6 for an illustration of how I perceive the relationship between unlashing creativity at
the edge of chaos, and application of the above-mentioned approaches.
I address the theoretical aspects of these perspectives in Ch. 2. Please also see Ch 4 for practical applications within a
workshop setting.
285 Harding, S. (n.a.) WHAT IS DEEP ECOLOGY? Through deep experience, deep questioning and deep commitment emerges
deep ecology. Resurgence issue 185 http://www.resurgence.org/resurgence/185/harding185.htm
284
76
st
*Goethean Science – Seeing 1 Time
*Deep Ecology – Questioning – Experience – Commitment
*Movement
Order
Chaos
Figure 6. Process
The Workshop & the Vision
When I set off on the journey of my dissertation work, the idea was to find a way to work towards
developing a safe space where creative ideas could flourish and connect in synergic relationships with
one another whilst fostering resilience to change by way of working with and through emergent
networks. One workshop was too short of a time to assess whether a culture for continuous
organisational learning has been established. I merely wanted to facilitate a “creative room” for a
constructive process with and through the edge of chaos. However, it was interesting that that the
objective of establishing a safe space for new and different thinking was a recurring theme during the
workshop. Hence, the vision of building a framework for continuous holistic organisational learning may
not be such an utopia after all. Please see figure 7.
Continuous holistic organisational learning
Creative room --- the ChangeLAB
Exploring the edge of chaos, flow and
imagination
Current situation
Figure 7. ChangeLAB Vision
77
Annotated Agenda by Activity
Agenda item
Friday 3 August
Objective
Outcome / Experience
Opening circle w. personal
introductions & icebreaking
exercise (Ex 1)
Provide a safe space for meeting of
heart, soul and minds. Foster an
open team jovial team spirit.
Introductory presentation:
Framework, concepts and
objectives (PowerPoint 1 –
Appendix 6)
Provide background information
and ensure that all participants
were on equal footing about the
underlying thinking and intentions.
Open Spaces & Connections (Ex 2
– text on movement & breath)
Bring attention to the power of
emergence and self-organisation
Too formal! The exercises may
have contributed to moving the
group towards a team – but at this
point they were still a group of
individuals.
Interesting questions. Well received
by all, but some felt the
introduction was an unnecessary
as they already held
comprehensive insight about most
concepts.
Unfortunately this did not happen.
Saturday 4 August
Personal and collective visioning
exercises (Ex 3 + text on
connecting with nature &
scenarios)
Facilitate a divergent process to
foster idea generation.
Parallel thinking exercise.
Identifying strengths, weaknesses
and alternatives. Working with
Edward de Bono’s 6 thinking hats
(Ex 4)
Foster parallel thinking to identify
facts, alternative ideas, challenges
and opportunities.
Playing with alternatives: Engaging
in movement and form in nature to
explore potentials and ideas (Ex 5
+ text on breath, movement,
communing with nature)
Bohmian Dialogue to summarise
and give feedback on personal
process thus far, and prepare the
ground for implementation (Ex 7 +
text on dialogue & listening)
Generate ideas and approaches to
develop a remarkable college with
regards to a) scope & curriculum
b) organizational model & network
c) deliverables & economy
Facilitate a process to deepen and
collect the scope of ideas &
activities in order to reveal
connections and emergent trends
of interest within the group.
The process proved to be very
productive, and it was also greatly
appreciated that the individual and
group work was done outside. I
consider the session might have
more focused if I had asked the
participants to create coherent
scenarios for desirable college
futures.
The exercise was well received, and
did unintentionally also serve as a
framework for short-term
commitment and preliminary action
plans. The exercise ran longer than
anticipated.
There was no time. The exercise
could have worked very well with
the group, but I consider I may
have underestimated the time
needed.
The dialogue was not truly a space
for conversation, but became a
session uncovering personal
commitment. I think this was
primarily because the core
question of the dialogue addressed
the personal commitment. Given
the time of day and setting I feel
this might have worked better
facilitated by Ex 6 Me, I and my
commitment, which I designed after
the workshop.
78
Teamwork to develop bold action
plans. Presentation and discussion
in plenary. Prepare for actual
commitment (Ex 8).
To nurture practical
recommendations and workable
prospects by drawing on
commitment and passions
expressed by teams. The output
should be a list of tasks coupled
with core objectives, identifying the
persons in charge, and timeframe.
The objectives for this exercise
were met by way of an
improvisational redesign of the 6
hats exercise. The output was
eminent and the group
demonstrated a strong personal
commitment.
Before we embark on the last
stretch (Ex 9)
Stillness and focus with the group.
Harvesting (Ex 10).
Debriefing, discussion, and
conclusions.
Closing circle (Ex. 11)
A free space to honour the time
together and bring forth aspects,
ideas and issues participants want
to share or contemplate
The exercise brought focus and
attention. I found it conducive to
also play some music during this
process. Some people wished to
share their through recorded in
this exercise during the closing
circle.
There was no time for time for this
exercise. However, the objectives
were met by way of the
restructured 6-hat process.
A wonderful closing ceremony with
a true feel of completion to the
weekend, and the beginning of an
interesting journey for a massive
project.
Sunday 5 August
Other Features
Meals
Guided morning meditation (Inside)
Qi Gong (Outdoors)
Organise them as much as possible
as at Schumacher, but in terms of
cooking and menus.
Start off the day with a peaceful
mind engage in “non thinking”
Add movement to the workshop.
Embody and process new insight,
ideas and workshop experience.
The practical arrangements were
not well enough planed out. Meals
and menus were well received.
Expectations met.
Expectations met. Facilitated
sensory experiences, breathing
and gave a feeling of grounding
our discussions.
Feedback from Participants
Fifteen persons participated in the workshop sessions, myself excluded. I have received feedback forms
from thirteen out of fifteen participants. The feedback forms asked for qualitative responses about
motivation and follow-up. In the categories pertaining to content and practical aspects, I asked
participants to rate the experience on a likert scale from 1 to 5, where 5 was the most favourable.286
Overall, the feedback revealed a great level of consensus in expectations and for how the workshop
was received.
Motivation
All respondents noted that their expectations were met, though one person thought there would be
more time for silence and contemplation, whereas another noted expectations were met but in a
different way than anticipated. About 70 % of the respondents joined the workshop with the primary
286
Please see Appendix 7 - Feedback Form for details on questions.
79
objective to contribute to ideation and visions towards a college of holistic science in Norway. Most also
expressed a key interest in meeting likeminded people whilst spending a weekend surrounded by
wilderness. One respondent noted the objective was to learn more about facilitation.
Workshop Process
Overall the respondents were positive about the workshop process and results. The respondents were
more or less consistent in their assessment of the workshop strengths, referring to a positive dynamic
process and the good opportunity for networking and engage in personal dialogue. Some pointed to
the different style facilitation as a forte, along with the diversity in exercises and approaches explored.
Lack of structure with regards to timekeeping, a deficient realism of visions and proposals were some
of the aspects that were regarded as weaknesses of the workshop. One participant also pointed out
that the approaches and the proposals had been discussed in during the 1960s, wondering whether
we were not just trying to reinvent the wheel. On the whole the exercises were well received and the
flux between individual, group and plenary work, varying from indoor to outdoor activities seemed to
make for dynamic workshop. However, about 30% of the respondents expressed that they had
experienced plenary sessions a bit too longwinded and thought driven. Five respondents explicitly
mentioned that they found working with the six thinking hats a useful and interesting practice. Two
respondents addressed the value of having included Qi Gong and meditation practice as part of the
programme. One person noted that the process was not sufficiently holistic as there was too much
emphasis of thinking and logic. However, a majority of participants emphasised the stronghold of
creativity reflected both though the process as well as by ideas generated and agreed follow-up
activities.
Platform
In the section addressing the platform I wished to find out whether or not participants felt that the
seven concepts I had identified as central in the process I endeavoured to facilitate. In hindsight I
regret that I did not include the concept of movement in the feedback form, but at the time of writing I
was thinking that movement was not prevalent enough in the workshop design. Please see the
concepts as listed in the table. Two respondents did not compete this category. And some participants
did not give feedback on all concepts.
Concept
Unclear
OK
New
Insight
Interpretation
Holistic Science
Deep Ecology
Edge of Chaos
1
4
2
7
6
5
3
1
3
Emergence
Goethean Science
1
6
2
1
6
4
4
3
3
Clear but few revelations
Somewhat unclear
Relatively clear - but
experience
Clear but few revelations
WEAK SPOT!!!
Time
Creativity
3
7
dissimilar
Ambiguous
A constructive workshop…
With these questions I wanted to identify whether the participants felt that the concepts were a)
properly addressed and b) whether they felt they had gained new insights. Where participants did not
give feedback I have interpreted this as the concept not having been appropriately addressed, or that
the respondent did not feel that the concept was relevant for the workshop process. I gave an
introduction to the concepts during my presentation Friday evening. On the whole it seems like the
respondents think the concepts were relevant, but that they did not necessarily gain new insights. The
concept of creativity gained most positive feedback with seven respondents saying they had gained
new insights, whereas only one person noted it as unclear. I interpret this as a signal that the
patricians experienced the workshop as a constructive, dynamic and productive process. Three people
80
say they gained new perspectives about the concepts of holistic science, the edge of chaos and
emergence. However, four respondents considered communication had been vague about deep
ecology, whereas two people gave this a high score. I consider this may relate to the perceived
relevance of the concept within the framework of the workshop. Of all concepts, Goethean Science
seems to be most poorly communicated, as more than 50 % of the respondents say that this was
unclear. Time stand out as the concept that seem to reflect most dissimilar perceptions and
experiences. Three participants say they gained new insights, whereas two say it was unclear, however
four participants did not respond to this category at all. Time certainly was an issue during the
workshop, and I suspect the responses reveal difference in how the participants relate to time more
than what was actually communicated about time.
The way forward
All respondents say that the discussions and outcomes of the workshop relate directly with other work
and projects they are involved in. And all but one express that they would like to play an active role in
following-up on the recommendations from the workshop. Each respondent brings different
motivational qualities to the project, so the key here is the fact that the workshop did not discourage
people, but seems to have strengthened the inspiration that brought the participants to the workshop
in the first place.
Practical aspects
Overall the workshop scored very well on practical aspect with an average of three to four for most
facets. Here the overall workshop organisation and communal work received top marks from nine out
of thirteen. The characteristic with most divergent views pertained to communication during the
workshop where some respondents felt communication had been unclear whereas eight participants
gave communication a high score. This may reflect two things; a) different expectations with regards to
communication or b) some neglect on the part of the facilitator.
Activity
Overall organisation
Communal work
Food (meals)
Social (evening)
Sleep arrangements
Accessibility (transport)
Information (before)
Information (during)
Dreadful
1
2
OK
4
6
5
4
7
8
8
3
Super!
9
7
7
8
5
3
4
8
Interpretation
Good sign!
Could have been better!
Curious…
Interpretation
Overall the workshop format and process seem to have worked very well with the group. It was a group
that where already highly inspired when they arrived in Sigdal and in that way likely not so difficult to
please. However, it was also a group that have been working with aspects of nature, culture and health
for some time and their expectations to workshop deliverables were high. The feedback reflects that
overall the process overall was experienced as dynamic and constructive, but that the facilitator likely
could have been a more stringent with regards to time and structure. Moreover, even if the exercises
on the whole were well received, I consider that the process did not sufficiently reflect, embrace or
bring forward a holistic approach. I base this on my personal observations coupled with the fact that
the respondents gave a relatively neutral response to the concepts explored as part of the platform.
81
Participant Reflections on Creativity & Time
I conducted two interview conversations during the workshop where I explored the participants’
relationships to creativity and time. The responses were of different character, and a good illustration
of how there are as many perceptions and experiences of creativity and time as there are people, at
least…
For Astrid, creativity is expressed as an aptitude to grasp connections between seemingly unrelated
subjects, initiatives, and people. In other words, creativity is about building and exploring webs of life,
across disciplines and perceived boundaries. She gets a kick from meeting new people and particularly
when people have different experiences that broaden her perspectives enabling new ideas and
projects. She finds it exiting when ideas are cross-fertilised in new projects as a result of others finding
inspiration and possible synergies in initiatives she is involved in. Astrid considers that creativity is a
must for being a proactive agent in shaping a desirable future. For her, a desirable future can only be
realised through cooperation whilst working with and towards creative solutions. Her mode of creativity
is primarily one of recognising opportunities, articulated through networks and by helping others make
creative ideas and innovations reality. Astrid experience time as both a process and benchmark which
can foster creative action.
- Astrid Green, Participant in the Sigdal Workshop
Astrids’ experience of creativity and time nicely reflect the notions of a creative network society as
discussed in chapter 2. She has an approach to creativity that has resonance among many of the socalled cultural creatives, which I have addressed as the primary target group for this workbook. This
group tend to, more so than others to work and initiate action by way of networks and explores
synergies in the meeting with others.287
Florida, R. (2002) The Rise of the Creative Class. And how it’s transforming work, leisure, community & everyday life.
New York: Basic Books
287
82
Bjørns' involvement is somewhat more philosophical.
Bjørn speaks to the multifarious quality of creativity and time. For Bjørn, a first premise of creativity is
holistic, in other words the fact that everything is related to everything else. He seeks to understand
the holistic nature of concepts and expressions that may lead to wisdom. He considers that thinking
alone is poor and deceptive; hence perception and insight must rely on a broader input than thought
and words alone.
Creativity entails seeing connections, recognising possible existing and new relationships between
different aspects, concepts, ideas, and acting on such basis. A well-exercised creative ability may
contribute to deeper and new insights.
Bjørn considers that he engages with at least three kinds of creativity, which tentatively could be
named fast, deep and emergent creativity. “Fast” creativity seems to be stimulated by intuition, but can
feel intensely mental. It is about seeing connections in the moment and responding in the moment.
Fast creativity happens in time. Contrary to this, it feels as if “deep” creativity is encouraged by
meditation, contemplation and appears to emerge through time, as deep insights that gradually build a
greater whole from which deep personal creation can happen. Bjørn expresses that when he engages
in song, music and movement, he can both receive such deep insights and create deep expression.
This kind of creativity is related to an archaic authentic energy. Thirdly, he experience “emergent”
creativity that happens when he lets go of the need for finding a solution, and a new idea or insight
strikes as a moment of “eureka”. Emergent creativity happens with time.
In moments of creative flow it is as if both time and place disappear. It seems as if creative flow is
timeless, wild, and independent of any notion of structure or framework. It is as if the elements just fall
into place in an emergent manner as if there is a self-organising dynamics embedded in creative
processes. However, as with emergent creativity, time can also be an incubator for creativity.
Meetings and conversations with other people inspire Bjørn, especially when they can expose him to
different ways of thinking and new ways of seeing the world. Also nature and music are major facets for
inspiration, and he finds great comfort and sometimes answers to dilemmas and questions reveal
themselves whilst in nature. He perceives change and unpredictability as constructive in a work setting,
whereas it may sometimes feel threatening in the intimate emotional realm. He finds it inspiring to see
ideas acted upon, and has noticed that things happen in a self-organising emergent manner when he
lets go of the process.
- Bjørn Brunstad, Participant in the Sigdal Workshop
Bjørn distinguishes between different kinds creativity and connects this to time. With his response I felt
that a whole new area of enquiry opened up which I cannot see have been addressed sufficiently or
coherently in the literature I have encountered. This conversation left me wanting to dive deeper into
this connection I continuously see, intuit and feel between creativity and time.
83
Personal Reflections
Flow and Vision
Ideas join hands, and transformed to new.
Created to be destroyed & reshaped for a new day.
Synchronicity through time, in time, with time… yes now!
Space for sacred attraction in motion - letting in, and letting go.
Open spaces, programme without schedule, what now?
The right people are there, are there, are here… it is our flow. And vision?
- Authors’ notes, 4 August 2007
What a weekend! Three days, 18 people together in the Sigdal forest in Norwegian with an objective to
seek out prospects and feasibility for establishing a college of Holistic Science in Norway. This was a
unique opportunity for me to apply some of the methodologies I had been looking at for my
dissertation at Schumacher College. We all know that there is often a disparity between theory and
practice, hence it was important for me to test my thinking and knowledge by way of a workshop.
And I certainly came back a few lessons that I address below. I have also written a moment-to-moment
reflection piece that has been included as Appendix 6.
Firstly, I still have lots to learn about trusting embodying facilitation for holistic organisation learning. I
recognise that even if I have read, and hopefully understand a great deal about holistic science and
applications in organisational learning, it is a whole different ballgame to translate this into a practical
workshop. To begin with, my process plans for the workshop were far more ambitious than what proved
feasible. Moreover, I caught myself operating through a mind driven processes. It felt as if I quickly
slipped back into the “old” safe way of doing things by working primarily with logical and intuitive
faculties of the mind. I sought to encourage use sensory and emotional ways of knowing in the
workshop, but in light of my initial aspirations, this nevertheless became a minute aspect. Paradoxically,
I found it challenging to facilitate exercises where movement was the main aspect, and was glad I could
incorporate movement in a different but very dynamic way with Qi Gong. I suspect it will be easier for
me to incorporate movement as part of the workshop exercises if there is a next time. During the
workshop it became clear to me that to allow for emergence and synergies, it is important to have a
defined program to give direction as well as to have a solid pool of exercises to draw from. However,
once the workshop is underway, it is the mood and energy of the participants that determine the
motions within the workshop. Hence, flexibility, a listening ear and heart seem to be key qualities for a
facilitator, and particularly if the aim is to foster creativity for holistic organisational learning.
I found it useful to work with exercises that allowed for changing dynamics and shifting between indoor,
outdoors, moving from individual, to team work and then back to plenary sessions again. It proved to
be a delicate balancing-act to allow enough time for individual ideation, in groups and plenary, whilst
ensuring that the process moves on avoiding stagnation and repetitious statements. I consider that the
energy within the group and dynamic exchange of ideas were greatly helped by being in a wonderful
place in the woods. However, I believe participants would have felt less ‘brain fried’ had I insisted on
carrying out exercises incorporating artwork and movement during the workshop. I conclude that
facilitation for holistic creative processes ought to fluctuate gently between different ways of knowing,
explored individually, in teams and in plenary in order to challenge comfort zones, and to bring about
creative synergies between individuals. Only intuition and an ability to sense the mood and energy of
the group can help a facilitator gage and respond to the demands for change in modus operandi for
the group as a whole as well as individuals within the group. This will never be clear-cut, and someone
84
will almost always feel that the timing is off hence it is about listening to the tacit energy flow of the
group and to shift the process energy, activity and focus accordingly.
The third lesson pertains to communication about the practical aspects of the workshop. Prior to the
workshop I had agreed with two people that they would attend to the practical aspects of the
workshop. Unfortunately I overestimated their aspiration to take this task into their own hands, and
they ended up somewhat confused with regards to what expectations were from my side, something
that proved frustrating for my colleagues, and unnecessarily strenuous for me. I failed to communicate
clearly and to explicitly agree with my colleagues what their tasks and responsibility were in moment-tomoment fashion prior to and during the workshop. As a consequence, my attention had to go not only
to testing out an aspiring holistic approach for unlashing the creative potential within the group, but
also to cook, attend to timing of sessions and meals, organise for meals, and facilitate clear up. What
suffered was my personal energy balance, along with the time I thought I would have to carry out
interviews. Self-organisation has its limits. People are different, and work tasks that need to be carried
out should not be left to chance as it may mean a heavier work burden for the person in charge of the
overall event. The lesson learned was to ensure that all seemingly minute aspects of the practical
organisation of the workshop are explicitly noted as someone’s job. It is (obviously) essential that this
person know that the task is his or her responsibility. Once the workshop is underway, it is it is more
complicated and energy demanding to delegate tasks and accountability.
Fourth lesson is about time keeping. Every session ran longer than I had planned for, and people
always needed to be chased back into the sessions again. For the most part, I had a feeling of, as
Terry Irwin said “herding cats”. Something that could be a good sign as it might mean that further
ideas are exchanged in the breaks, but if time slips too much, it can also be a way of losing the
attention of participants. In hindsight, I see that it would have been helpful to ask someone else to take
charge of time, and to chase the participant to meet at the agreed time and place.
Fifth, facilitation happens at the edge of chaos… in constant flux, drawing on intuition, senses, and
tuned to the emotions and moods of the group whilst drawing on defined methodologies and a physical
framework of place. Facilitation prompts creativity, impulsivity whilst also demanding rigor. I guess this
is what makes facilitation so unbelievably exiting. It asks for hundred percent presence to do it well,
and this is also why a facilitator should focus on facilitation and make sure everything that there are
people helping to back up and attend to practical and predictable aspects. I believe this is what’s
needed to free the facilitator to be a “holistic facilitator”; creative, structures, flexible in and in tune with
the ever-changing demands and needs of the group.
And to reiterate; as a facilitator one should not endeavour to do everything, but rather delegate as
much as possible. As well as taking weight of the shoulders of the facilitator, it spurs engagement, and
makes people feel useful.
85
6. Towards a New Pilgrimage
You cannot discover new lands
until you have the courage to lose sight of the shore.
- André Gide
The process of preparing this workbook has continuously brought me back to the feeling of being the
caterpillar that Norie Huddle talks about. I have eaten my way through the material, the writing, as well
as massive amounts of Norwegian goats cheese on rye bread. I am not sure I can face that
combination ever again. However, my cells have become emergently stronger, and I hope the butterfly
in me which soon will be free from this exhilarating internal journey of transformation will prove to have
learned the most essential lesson of all; to embrace change and enjoy being with a process rather than
keeping my eyes on the outcome. Only time will tell. We always speak the truths we need to learn
ourselves, and this is mine.
So to summarise for you, my reader, the key message I want to pas on from this incredible journey is
that creativity will flourish only when we allow for uncertainty and change, yet too speedy a processes
of transformation brings confusion and unease. So, somehow, the art is to embrace that glorious
middle way between chaos and order – the edge of chaos. I hope this workbook, paper, primer or
whatever I should call it, can be of assistance in that regard.
Next Steps
The paper has revealed several areas that I would like to explore further either conceptually or by way
of practical work. As mentioned, the change laboratory I keep referring back to is for me a way of
thinking rather than a physical space, hence I seek to bring the ChangeLAB will be with me in my heart
and soul, so that I can do like Gandhi said; to live the change I speak. I wish to highlight three avenues
I am determined to explore further:
ü
The obvious next step is that I will seek out opportunities through my work to further explore
how to bring about a closer connection between humans and the ecosystem. As I have
highlighted, I believe the Deep Ecology, Goethean science and a broad interpretation of
movement has much to offer in this regard.
ü
The workshop in Sigdal gave an outline for an interesting pathway of development for a
potential college of holistic science in Norway. If we manage to put this idea into action I see
plenty of scope for exploring many, if not all, of the approaches and ideas included in this
workbook, though additional scoping might of course be called for.
ü
In terms of further conceptual work, I wish to seek opportunities to explore experiences and
perceptions to gain deeper insight to the relationship between time, change and creativity. I
have found little about this in the literature, and feel there is scope for a fascinating pilgrimage
by listening to and observing the stories of individuals. Would you like to share your story?
Thank you!
86
Glossary
Some of the words have been discussed in further detail within the text. This glossary is merely meant
to provide an overview. The interpretations are my own, yet based on the reading carried out in
preparation of this dissertation. Quotations are indicated, but full references have not been provided.
Ambiguity: The act and ability of being open to more than interpretation.
Assumptions: What is held to be true. Assumptions influence perceptions, how we experience and
understand a phenomenon.
Chaos: Briggs and Peat address chaos as “underlying interconnectedness that exists in apparently
random events.” Chaos gives rise to birth and death, letting go and welcoming anew. It is the cradle of
change, unpredictability and creation.
Cognition: The process of acquiring knowledge based on experience and perception of thought,
intuition, sense or feeling.
Concept: According to the Oxford dictionary a concept is “an idea or principle that is concerned with
something”. I consider that a concept can represent a core idea; it can be the reason for moving in a
certain direction as well as provide the basis for an idea. Ideas are focused approach or practical
initiative to put a concept into practice.
Consciousness: Collective or individual awareness of a phenomenon or issue manifested by way of
cognition.
Creativity: New thinking, ideas, or phenomenon born out of an unpredictable sequence of events
(Edge of Chaos).
Deep Ecology: A bio-centric worldview. Sees human beings as part of the ecosystem. Sees the world
as a network of interdependent and interconnected phenomena. Addresses the intrinsic value of all
living beings.
Edge of Chaos: Where order meets chaos and the two feed of each other in a perfect interplaygiving rise to creativity.
Eros: Relationship, it is the copulation, the self-organising emergent process that assist the union
between the matter (Gaia) and the soul of change (Chaos) fostering creativity. As if Eros is the
manifestation of the Edge of Chaos.
Gaia: Ancient Greek feminine principle of matter and earth. James Lovelock named Planet Earth as a
self-regulating living organism, Gaia.
Holistic: To understand and perceive a part, i.e. a tree, as an expression of the functional whole, i.e.
a forest, whilst also recognising the interdependence of the parts.
Idea: A thought or a construct that is realised in the cognitive.
87
Innovation: Something new, a creative concept or idea that is brought into being. An innovation is
something that is acted upon and manifested, in does not remain merely as a conceptual possibility.
Paradigm: Thomas Kuhn defined it as a constellation of achievements – concepts, values,
techniques, etc. – shared by a scientific community and used by that community to define legitimate
problems and solutions.
Paradigm Shift: Kuhn noted that paradigm shifts are changes in that occur in “discontinuous
revolutionary breaks.”
Perception: How we experience and understand a phenomenon is reflected and manifested as our
awareness.
Shallow Ecology: Traditional environmentalism. Anthropocentric worldview. Consider humans as the
sources of all value, separate and above the natural environment. Humans are managers and
orchestrates of sustainable development, and technological innovation is instrumental in this
endeavour.
88
Appendix
Appendix 1 – Workshop Invitation
Appendix 2 – Agenda (as it happened)
Appendix 3 – Workshop Summary by Session
Appendix 4 - Moment-to-Moment Reflection
Appendix 5 - Participant list for Sigdal workshop 3 - 5 August
Appendix 6 – Prior Informed Consent
Appendix 8 – Presentation: Setting the Stage
89
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Anne Solgaard MSc Hol Sci 06_07 full thesis

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