Grace Ann Rosile has the theory of horsesense. I think it denotes  
embodied actions.
I have been working to understand embodied story, and embodied acts  
of collective memory

I just want to say how marvelous this discussion is.

for more on horsesense there is horsesenseatwork.com  or for  
application to story consulting from a storyability perspective,
there is http://business.nmsu.edu/~dboje/690/cpscBOOK/index.html  
(sorry I did not spell check it all yet)

david

On Feb 6, 2007, at 6:47 AM, Steve Taylor wrote:

> Dear David and Daved (and others),
>
> For me, this whole idea of embodied action gets at the heart of  
> it.  It's
> what I was trying to get at in my suggestion of disciplines.  So, I  
> think
> there are disciplines that we learn that we then embody.  Perhaps  
> not very
> consciously and perhaps not very well, but I know that there are  
> disciplines
> I have learned in my training and practice as a playwright that are  
> embodied
> in pretty much everything I do.
>
> And I think that you can bring disciplines from the arts to the act of
> managing.  But you do have to learn them and learning embodied  
> disciplines
> suggests different modes of education that you see in business  
> schools.  It
> suggests studios and practice based learning.  It suggests doing and
> reflection on action and reflection in action.
>
> - Steve
>
> Ps - I am really enjoying this discussion, it's good to be doing some
> interesting thinking during this frozen February.
>
> On 2/6/07 8:02 AM, "DAVID Cowan" <[log in to unmask]> wrote:
>
>> Dear Garrick (and others),
>>
>> Before responding to the questions that you asked of me last  
>> Thursday, I
>> decided to sit back and observe the array of other responses that  
>> your query
>> generated. Perhaps within a rich social context such as this, I am  
>> alleviated
>> of responsibility to respond myself?
>>
>> What I was attempting to convey last August – when I wrote the  
>> note that you
>> responded to – was only that indigenous perspectives on art seem  
>> qualitatively
>> different from those that are Western European. A likely reason is  
>> that they
>> derive from different metaphysics, which creates different  
>> epistemologies and
>> aesthetics. For indigenous cultures, such as Lakota, Navajo, and  
>> Maori, for
>> example, art is integral to humanity – not something exercised by  
>> only a
>> certain few and ideally not something engaged only now and then.  
>> They seem to
>> understand in general (although there are always exceptions), that  
>> truth,
>> beauty and goodness are genuine cornerstones to being human.  
>> Joseph Marshall
>> III, born Lakota and possessing Lakota as his first language,  
>> explains the
>> pattern of difference in this manner: “To the Lakota, virtues ...  
>> carry a
>> different weight and substance than they do in western culture.  
>> For us these
>> qualities are not so much elusive goals as they are essential  
>> parts of
>> everyday life. ... I knew growing up that at some point I was  
>> supposed to BE
>> the things I learned. ... I knew this because the storytellers  
>> lived the
>> lessons they imparted ... they practiced what they preached” (The  
>> Lakota Way,
>> Viking, 2001).
>>
>> With respect to art, my experience suggests the same – that  
>> indigenous people
>> pay more attention to BEING rather than just to knowing or doing.  
>> Education
>> that derives from this foundation emphasizes becoming the SOURCE  
>> of one’s
>> values. More accurately, perhaps, there become few if any  
>> separations between
>> doing, knowing, and being. In this understanding of reality,  
>> people are
>> genuine “artists” or “leaders” only to the extent that they EMBODY  
>> and PROJECT
>> requisite values consistently, i.e., in all that they do. That is  
>> at least the
>> objective or the "possibility." Art becomes a WAY OF BEING in the  
>> world that
>> stands side by side truth and morality. A life well lived is a  
>> consistent
>> source of each and all.
>>
>> This perspective is reasonably comparable to Miyamoto Musashi’s  
>> treatise on
>> the “WAY of a warrior” and to Chogyam Trungpa’s and Ramana Maharshi’s
>> treatises on the “WAY of enlightenment.” All lead to embodiment –  
>> “ways of
>> being in the world” not just doing stuff or knowing stuff. In  
>> indigenous
>> philosophy, “what one does derives from who one IS. Thich Nhat Hanh’s
>> describes this as “interbeing” – “this is like this because that  
>> is like
>> that.” Thus, both he and the Dalai Lama suggest, for example, that  
>> if you want
>> a peaceful world your responsibility is to BE a peaceful person.  
>> True artists
>> (or warriors or enlightened people) have no particularly favorite  
>> forms of
>> expression -- Musashi advises against having “favorite weapons”  
>> but instead to
>> learn the principles of weaponry (thus he frowned upon schools –  
>> dojos – that
>> taught particular skill sets. From this perspective, art would  
>> manifest
>> outwardly through all that one does because it exists inwardly in  
>> who one is.
>>
>> Regarding associations of “beauty and goodness” to art, each  
>> philosophical
>> foundation likely leads to different conclusions. All I can say  
>> about (my
>> understanding of) an indigenous perspective is that beauty is not  
>> the same as
>> surface appearance (e.g., prettiness). It doesn’t depend upon what  
>> art “looks
>> like.” Similarly, for art to leave “goodness” in its wake does not  
>> mean that
>> it provides immediate gratification or that it provides goodness  
>> for all. What
>> I might conclude is that beauty and goodness depend upon the  
>> impact that they
>> have on someone’s way of being in the world.
>>
>> Mindfully, David C.
>>
>> David A. Cowan, Professor
>> Management Department
>> School of Business
>> Miami University
>> Oxford, OH 45056
>> (513) 529-3689...office
>> (513) 529-6992...fax
>> [log in to unmask]
>>>>> Garrick Jones <[log in to unmask]> 02/01/07 4:34 AM >>>
>> Dear David,
>>
>> I read with interest your response on the "art of leadership" which
>> threw up a number of questions for me.  The definition of "Art" is
>> used in the broadest of categories and while welcome, leaves me
>> pondering the differences between the idea of "creativity" and the
>> idea of "art" per se.  Claire Bishop used this distinction very
>> usefully in her article in Frieze "The Social Turn: Collaboration and
>> its discontents", n0 96, February 2006. While I completely agree that
>> the Artist is in the world in a way that is somehow different, and
>> adopts a vantage point, or exists in relationship to the world in a
>> particular way, I have to query whether its only about beauty and
>> goodness.  Adorno and Benjamin have written extensively on the gaze,
>> or the eye of the artist, and of the impact of an alternative
>> perspective. While I agree that creativity exists at the core of what
>> it means to be human - is this "art" and is this "art leadership"?
>> If we extend the idea of artists beyond that of sculptors and
>> painters (which as a musician and composer I welcome), and into the
>> realm of literature and playwriting  how then might you classify the
>> "art leadership" of perhaps, say, Jean Genet, who unquestionably
>> "led" as an artist in the 1950's and 1960's, but who's metier was not
>> about leaving beauty and goodness in the people it touched.
>>
>> best wishes
>>
>> Garrick Jones
>>
>>
>>
>>
>> On 28 Aug 2006, at 20:22, DAVID Cowan wrote:
>>
>>> Dear Katja, Stefan, Steve, Daved, Claus, and all other artful  
>>> friends,
>>>
>>> My own take on the "art of leadership" is fairly indigenous. From
>>> this perspective, artistic leadership is more a "way of being in
>>> the world" than it is a particular artistic expression. It
>>> manifests physically, mentally, emotionally, and/or spiritually in
>>> accordance with relevant contexts. This compares to the less
>>> indigenous notion of locating art more specifically, for example,
>>> within frames, on stages, or in particular kinds of writing.
>>> Indigenously, artful leadership is a way of walking upon the earth
>>> that leaves beauty and goodness in the people it touches. [If
>>> interested, I explain more about this in the article that I
>>> mentioned in a previous message, "Artistic Undertones of Humanistic
>>> Leadership Education" (Journal of Management Education, out this
>>> Fall) -- which will also have many references. In it, I borrow
>>> insight from Sandelands and Buckner's "art at work
>>> characteristics."] For your pleasure, I share a quote from Henri
>>> cited in Sandelands and Buckner: "Art, when really understood, is
>>> the province of every human being. . . . When the artist is alive
>>> in people, whatever their kind of work may be, they become
>>> inventitve, searching, daring, self-expressing creatures. . . .
>>> They do not have to be painters or sculptors to be artists. They
>>> can work in any medium."
>>>
>>> Mindfully, David
>>>
>>>>>> stefan meisiek <[log in to unmask]>  >>>
>>> Dear Katja and all,
>>>
>>> We have been tossing ideas around for a think piece on the “fine
>>> art of
>>> leadership” for a while. We asked ourselves what it would mean if a
>>> leader was thought to apply fine art thinking, and if there are
>>> leaders
>>> already whom could be said to do that. The art notion as in “the art
>>> of…” usually has a strong crafts connotation, a list of rules and
>>> principles like in Fayol’s work, or like Sun-Tsu’s writing on war
>>> (actually the Chinese title suggests only principles and no art
>>> of…). If
>>> we leave the craft aside for a minute, what could the conceptual art
>>> part tell us about leadership? What’s the leadership equivalent of
>>> Duchamp’s toilet? As a fine artist, the leader becomes more thinker
>>> and
>>> less ‘doer’ (not to mention dour). With this, it’s not enough for a
>>> leader to bracket a problem—she has to represent it in a catchy,
>>> upending, and reflective w From: Aesthetics, Creativity, and  
>>> Organisations
>>> Research Network
>>> [mailto:[log in to unmask]] On Behalf Of Claus Springborg
>>> Sent: segunda-feira, 28 de Agosto de 2006 13:35
>>> To: [log in to unmask]
>>> Subject: Re: leader as artist literature
>>>
>>>
>>>
>>> Dear Katja
>>>
>>>
>>>
>>> Mythology, leaders/managers and artists. This is not directly
>>> references
>>> to literature that uses an artist metaphor to describe leadership,
>>> but I
>>> personaly find it a very interesting indirect link between  
>>> artists and
>>> leaders. Maybe you can use it?
>>>
>>>
>>>
>>> The mythology of the journey of the hero is sometimes used to  
>>> describe
>>> both the journey of the leader/manager and the journey of the  
>>> artist.
>>>
>>>
>>>
>>>
>>>
>>> In Synchronicity – the inner path of leadership by Jaworski (p.
>>> 18-119),
>>> leadership (and Joseph Jaworskis own journey) is compared to “the
>>> journey of the hero” as it’s described in Joseph Campbells The hero
>>> with
>>> a thousand faces.
>>>
>>>
>>>
>>> In Dialogue – the art of thinking together by William Isaacs (p.
>>> 286-87), there are also references to Joseph Campbells journey of  
>>> the
>>> hero. He writes about the difficulties of returning with new
>>> insight to
>>> the “ordinary” world.
>>>
>>>
>>>
>>> In Artful Creation by Lotte Darsø there is a chapter on the work of
>>> Miha
>>> Pogacnik (p.93-98). Here the journey of the hero is mentioned as the
>>> journey of a leader. I think the part called the art of listening,
>>> describes the essential link between hero, artist and leader.
>>> Namely the
>>> ability to clear a mental space of ones own thoughts and ideas and
>>> through that empty space get the ability to receive – to listen. In
>>> Dialogue a similar idea is called suspention – a term that
>>> comativity by David Bohm there is a chapter called On the
>>> relationship of art and science. Here art is linked to the  
>>> ability to
>>> perceive, and in that way it becomes essential to science – the more
>>> subtle the theories of the world, the greater the need for subtle
>>> perception to keep the theories in tune with what’s actually  
>>> going on.
>>>
>>> The chapter is interesting if one think of leadership as the
>>> activity of
>>> developing theories of how best to manage a business. If the leader
>>> can
>>> learn to “listen” like the artist, then his ability to perceive the
>>> consequences of his actions is expanded – he can get more subtle
>>> feedback than before, and thus develop more in tuned theories.
>>>
>>>
>>>
>>> I have also seen the journey of the hero used in books on how to
>>> develop
>>> creativity in artists. I don’t remember any titles though. Maybe The
>>> artist way by Julia Cameron could have a useful reference or two.
>>> Maybe
>>> another Aacorner can help us out here?
>>>
>>>
>>>
>>> I also find it interesting to compare the journey of the hero  
>>> with the
>>> process of double loop learning (Argyris (1992): On organizational
>>> learing). I haven’t seen this anywhere – but if anyone have, I’d
>>> love to
>>> get a hint.
>>>
>>>
>>>
>>> Hope this is useful.
>>>
>>>
>>>
>>>
>>>
>>> Cheers Claus Springborg
>>>
>>>
>>>
>>> p.s. I have made a first draft in order to map the literature on  
>>> Arts
>>> and Business into some categories. I will send it to the Aacorn net
>>> shortly in order to get feedback. That might be helpful to you as
>>> well.
>>>
>>> ----- Original Message -----
>>>
>>> From: Katja Lindqvist <mailto:[log in to unmask]>
>>>
>>> To: [log in to unmask]
>>>
>>> Sent: Monday, August 28, 2006 12:16 PM
>>>
>>> Subject: leader as artist literature
>>>
>>>
>>>
>>> Dear Acorners,
>>>
>>>
>>>
>>> does anyone have any suggestions for literature on the myth of
>>> leaders/managers as artists?
>>>
>>>
>>>
>>> I'm going into this question in writing, and mostly have  
>>> literature on
>>> the aesthetics of organisation and managment, but don't really have
>>> the
>>> full picture of the frequency of this metaphor in business research
>>> and
>>> literature.
>>>
>>>
>>>
>>> I'd be great to hear from the ACORN network what you've come across
>>>
>>>
>>>
>>> Best,
>>>
>>> Katja
>>> Visiting scholar at Dipartimento di Scienze Aziendali, University of
>>> Bologna
>>>
>>> [log in to unmask]
>
>
> Steven S. Taylor, PhD
> Assistant Professor
> Worcester Polytechnic Institute
> Department of Management
> 100 Institute Rd
> Worcester, MA 01609
> USA
> +1 508-831-5557
> [log in to unmask]