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AACORN  November 2006

AACORN November 2006

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Subject:

Re: call for help_rhythm and organizing

From:

David Atkinson <[log in to unmask]>

Reply-To:

David Atkinson <[log in to unmask]>

Date:

Fri, 10 Nov 2006 13:46:11 -0000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (251 lines)

This is a very interesting discussion thread on rhythm and organising. 

At the risk of clouding the issue, and - as a newcomer to AACORN - my
apologies in advance if I do, I offer the following muse.

As a metaphor I see rhythm as yet another powerful method of unpicking
what might appear to be good (or bad) about this or that management
and/or organisational performance; in order that certain performances
might be better replicated. This would, I believe, follow Agyris's Model
I concept of organisational management learning. 

Do we then look for managers who have "natural" rhythm when we lack a
blue print for organisational action? This might, for example, be within
complex and ambiguous situations. 

While we might teach dance routines or the techniques for playing a
certain instrument, can we teach "performance with rhythm"? Here, I
believe, we enter the realm of whether or not, or to what extent, can an
organisational manager be deemed an artist and whether or not, or to
what extent the organization itself might be considered a work of art?
If management/organisation seen as an art-form is
management/organisation with rhythm this might a freedom of expression
that is to be welcomed/championed and celebrated in some circumstances
and context but in others possibly to be seen as a threat to
organization stability. 

For example, self-learning organisations implicitly suggest an inherent
"rhythm generation capability" - what might this be? What we, as Western
"organisers", would class as a rhythmic ideal would not easily match
with our Eastern counterparts. 

To my mind, rhythm presents itself as yet another concept fascinating in
its intricacy and a powerful metaphor but, at least on the face of it,
offering perhaps little within itself to indicate any transcendent
purpose. If that makes sense.   

Over to you all again!

Cheers

David

-----Original Message-----
From: Aesthetics, Creativity, and Organisations Research Network
[mailto:[log in to unmask]] On Behalf Of Nicoline Jacoby Petersen
Sent: 10 November 2006 13:16
To: [log in to unmask]
Subject: Re: call for help_rhythm and organizing

I'm working on designing new conference formats, and some months ago I
put RHYTHM to my list of design principles - so I find this discussion
very interesting!

I haven't explored the concept that much yet (thanks for the
references!), but I found rhythm relevant for my work for several
reasons:

I've been looking into attention psychology, and it seems that the body
runs in two hour cycles regarding attention: humans switch between being
introvert attentive and extrovert attentive during a day (I don't know
if these are the right words in English). 
So to me, rhythm (or: a good rhythm) can also be conceived in terms of
accommodating bodily needs during a conference day, if that makes sense
;-)

Next, I think that variation is a key to keeping attention, and again
rhythm offers a good way of thinking along these lines (introducing A,
repeating A, breaking the routine by introducing B, and repeating A
again - which also breaks the routine, yet is familiar to the audience).
 
Finally there is something about rhythm and timing/planning. In a
conference setting, the perceived time is often very different from real
time - time can fly by and time can stand still. It can be difficult to
plan that all speeches for example should only last 30 minutes - since
some speeches will be perceived as lasting 10 minutes and some as hours.
So you want to make sure that the rhythm is in alignment with the
perceived time - and how do you plan that?!

Just a few thoughts - which of course doesn't answer David's interesting
question about cultural differences in rythms... Haven't thought of
that, but sure will do ;-)
 
Cheers,
Nicoline


//////////////////////////////////////////////////////////////////
Nicoline Jacoby Petersen // PhD student
www.dpu.dk/about/njp

LEARNING LAB DENMARK
The Danish University of Education
Emdrupvej 101
2400  Copenhagen NV
Denmark

email: [log in to unmask]
phone: (+45) 8888 9983
mobile: (+45) 606 505 44
//////////////////////////////////////////////////////////////////

-----Original Message-----
From: Aesthetics, Creativity, and Organisations Research Network
[mailto:[log in to unmask]] On Behalf Of David Weir
Sent: 10. november 2006 10:14
To: [log in to unmask]
Subject: Re: call for help_rhythm and organizing

-Hi guys;
Here are some questions that bother me. For example, do different
cultures have different rhythms? Do different organisation structures?
Different occupational systems? How do we study this?
If different musics embody different accounts of time!space, why is
this? How are these rhythms transmitted? Are different cognitive
structures involved?
Why is Jimmy Giuffre's "Train and the River" about a train and a river?
How is Takemitsu about "the thing we call Time"?
Please answer within one hour as we are discussing this topic right now
in class.
 Thanks to all. 
Rock On,Dudes!
David

---- Start Original Message -----
Sent: Fri, 10 Nov 2006 09:18:58 +1300
From: "Bathurst, Ralph" <[log in to unmask]>
To: [log in to unmask]
Subject: Re: call for help_rhythm and organizing

> Hi Enrico
> 
>  
> 
> Yes we have spent time talking about this issue.  Our critique of
Albert
> and Bell was fairly muted.  Our reserve about their analysis was based

> on the notion that musical rhythm is much more complex than A & B 
> indicated.  The trouble is that it requires much more sophisticated 
> musical knowledge to tease out those complexities.
> 
>  
> 
> It seems to me that to do this within the organisational studies 
> discipline is going to involve devising a language that retains 
> musicological integrity while at the same time is accessible to 
> non-musicians.
> 
>  
> 
> For instance even defining rhythm is tricky.  We could think of it at 
> the level of pulse (or beat) which is where A & B focus, or we could
go
> deeper and think of elements like harmonic rhythm which are more
complex
> but much more interesting.  Our critique of A & B signalled this
latter
> notion of harmonic rhythm but this is where musical knowledge is 
> crucial.
> 
>  
> 
> I am happy to engage in conversation about this with you and other 
> interested people if you want.
> 
>  
> 
> Cheers
> 
>  
> 
> Ralph (Bathurst)
> 
>   _____
> 
> From: Daved Barry [mailto:[log in to unmask]]
> Sent: Friday, 10 November 2006 1:52 a.m.
> To: 'enrico maria piras'; [log in to unmask]
> Cc: Bathurst, Ralph; [log in to unmask]
> Subject: RE: call for help_rhythm and organizing
> 
>  
> 
> Ralph (Bathurst) and Lloyd (Williams)-didn't we talk about this at 
> Krakow? Seems to me there were some rhythm discussions there. Anyway,
in
> addition to the work that Ralph Kerle suggested, you should look at 
> Cadences at Waco: A critique of "Timing and Music" by Stuart Albert
and
> Geoffrey Bell (2002) Academy of Management Review, 27(4): 574-593. (as

> well as the original Albert and Bell piece). They really started the 
> whole idea of rhythm and organization and are the only ones I know 
> who've gotten very far with the concept. Hope this helps! Daved
> 
>  
> 
>   _____
> 
> From: Aesthetics, Creativity, and Organisations Research Network 
> [mailto:[log in to unmask]] On Behalf Of enrico maria piras
> Sent: Tuesday, November 07, 2006 7:08 PM
> To: [log in to unmask]
> Subject: call for help_rhythm and organizing
> 
>  
> 
>  
> 
> Dear Acorners,
> 
> I'm right in the middle of writing a book section on an aesthetic 
> perspective on workgroup cohesion.
> The key concept in my analysis will be "rhythm", which I will use to 
> explore how micropractices are built. So far in my literature review I

> haven't found many references. I mean, many articles and authors use
the
> word "rhythm" but only on an evocative level and there seems to be not

> much theory attached to this word. At the moment I'm referring to some

> reflections on art and especially music. I'd like to find out how this

> concept has been used in organizational theory.
> I'm sure some of you has come across this concept or something similar

> to it in your research. Could you help?
> 
> best
> Enrico
> 

----- End Original Message -----






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