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Beauty
In 1995, Donna
Prestwood, Barbara Benjamin and I, created, produced and hosted 8
two-hour live satellite TV broadcasts for the National Technological
University (NTU) on leadership, which we entitled "Leadership
in the Interactive Age."
In the session called, Personal
Ingenuity and Emerging Technologies, we described three
characteristics of inevitable opportunities in technology:
- The space between
- Synergy
- Beauty
My point was, as I presented these three
criteria, that if a technology operated on the space between people
(things, ideas, concepts), enhanced synergy, and was beautiful
(elegant), it probably had a good chance of being a success. I would
probably add time shifting now, and still think it's a pretty good
list.
I want to focus on beauty right now, because I think it
is imperative that we keep our eye on this criteria as we move to
more collaborative, emergent behavior types of human
systems.
Rollo
May was an existential psychologist and a philosopher. I read
several books of his in the 1980s. In My Quest for
Beauty, May wrote, "Poincare, the great contemporary
mathematician, sounds like Plato when he asks the question of how
new mathematical discoveries are made. Then he answers,
'The
useful combinations are precisely the most beautiful, I mean those
best able to charm this special sensibility that all mathematicians
know...But only certain ones are harmonious, consequently, at once
useful and beautiful.'
Writing about Shiller, May comments,
"...we best let him speak for himself.
'Beauty alone confers
happiness on all, and under its influence every being forgets that
he is limited.'
Shiller hastens to add that this forgetting
is temporary, however, for the sense of limitations is crucial to
our creating beauty. We actually create beauty out of the endeavor
to come to terms with the paradox on the one hand of freedom and on
the other of destiny. Our limits come from both nature and spirit,
finite and infinite, objective and subjective."
May agrees
with Shiller that beauty is born in play. "Play is the one activity
where the fusion of inner vision and objective facts is achieved.
Out of this comes the living form which is beauty. This living form
is vital, alive, dynamic; and at the same time it gives serenity and
repose..."
May remarks, "Artists wrestle with fate in the
endeavor to make objective their inner subjective vision." And, in
order to do that people must be psychologically healthy. Beauty is a
result of creativity that is driven by the engine of paradox, the
duality of opposites (finite/infinite, life/death, yin/yang,
right/left brain). "Death is the mother of beauty", wrote Wallace
Stevens.
"Thus creativity brings together what Freud summed
up as the two purposes of life: to love and to work. (Otto) Rank was
only going further than Freud by pointing out that both of these,
love and work, are aspects of creativity."
May later writes,
"Let us explore the human mind as it engages in the creative act.
The capacity to create - which we all have, although to varying
degrees - is essentially the ability to find form in chaos, to
create form where there is only formlessness. This is what leads to
beauty, for beauty is that form.
Beauty reveals a form in the
universe - the harmony of the spheres, as Kepler called it. It is a
form which is present in the circling of the planets. It is a form
which is felt in the curves and balance of our own bodies. And it is
present especially in the way we see the world, for we form and
reform the world in the very act of perceiving it. The imagination
to do this is one of the elements that make us human
beings."
But what is form? "Form is a pattern, an image and
an order given to what would otherwise simply be chaos. Form is the
nonmaterial structure of our lives, on the basis of which we live
and on which we base our own particular character." Henry Miller
wrote of creative people that they want "to make of the chaos about
them an order that is their own."
In another seeming paradox,
May points out that "the form dictates the content." We select a
form "because the content can best be formed out of the chaos" and
put into "whatever form seems to fit." "Form", he continues, "is
nonmaterial, and has its existence only as things are related to
other things." Writing about Pythagoras, he explains, "he held that
the fundamental element (of the universe) was no substance at all,
but was really the form in which everything in nature is related to
everything else."
At a personal level, our own quest for
beauty through our creativity gives us grace. May writes,
"Creativity gives us grace in the sense that it is balm for our
anxiety and a relief from our alienation. It is grace by virtue of
its power to reconcile us to our deepest selves, to lead us to our
own depths where primary and secondary functions are unified. Here
the right brain and the left brain work together is seeing the
wholeness of the world."
Chaos is essential for creativity
and thus beauty. Too much order will stifle creativity. The role of
the artist changes depending upon the environment. If too much chaos
exists, the artist creates new order. If too much order exists, the
role of the artist is to create chaos.
If you have any doubt
about beauty being a serious objective of any undertaking, listen to
what Rollo May has to say. "Beauty is the expereince that gives us a
sense of joy and a sense of peace simultaneously. Other happenings
give us joy and afterwards a peace, but in beauty these are the same
experience. Beauty is serene and at the same time exhilarating; it
increases one's sense of being alive. Beauty gives us not only a
feeling of wonder; it imparts to us at the same moment timelessness,
a repose - which why we speak of beauty as being
eternal.
Beauty is the mystery which enchants us. Like all
higher experiences of being human, beauty is dynamic; its sense of
repose, paradoxically, is never dead, and if it seems to be dead, it
is no longer beauty."
Innovation
commons, as well as other open, collaborative systems, are by
their very nature chaotic systems. The goal is to find the order in
the chaos through the individual and collective creativity of its
members. This will happen if their is a shared vision, will and
significance in the group. The balance of order and chaos is
extremely important, as well as the timing of that balance, which
should change from more chaotic to more ordered over time, or else
the effort will not be productive. The group has to collectively and
individually be on a quest for beauty, in addition to functionality,
in order to avoid building a termite mound. (See The
Limits of an Innovation Commons in the blog for more information
about the reference to termite mounds).
Paul
Schumann
My Quest for Beauty, Rollo May,
Saybrook, 1985 Comment
or Discuss this essay
The Future of
Strategy
"It's
provocative and full of insights."
This is a 47 minute
telephone interview of Paul Schumann by Tom Carroll. All of the
files listed are mp3. You can download for free, or order a CD for
$10.
1. What
is corporate strategy? (1.6 mb, 2:09) 2. What
does it mean for an organization to have an effective strategy?
(.6 mb, :49) 3. What
are some of the best practices for developing an effective corporate
strategy? (.9 mb, 1:16) 4. What
should an effective corporate strategy include? (1.8 mb,
2:32) 5. Who
should be involved in strategy formation? (1.4 mb, 1:56) 6.
What
do you mean by the term "knowable future" and how does that relate
to business strategy development? (4.5 mb, 6:16) 7. What
sort of new strategy development methodologies do you see
emerging? (1.5 mb, 2:03) 8. Presently,
are there some recent global trends that you believe are important
to consider when developing business strategies? (9.7 mb,
13:30) 9. Were
you surprised on finding that technology develops slowly? (4 mb,
5:30) 10. Are
there any companies who really have gotten strategy development down
to a fine art? (4.2 mb, 5:48) 11. What
are some first steps a company can take to begin formulating an
effective corporate strategy? (2.6 mb, 3:36) 12. How
can people contact you? (1.1 mb, 1:36)
Order
the CD (audio or mp3)
ACA Call for
Presenters
The American
Creativity Association is holding it's 2006 International Conference
on March 22 - 24, 2006 in Austin, Texas at the Austin-Bergstrom
Airport Hilton. The call for presenters as well as other information
about the conference is available on their web site (www.amcreativityassoc.org).
Proposals must be submitted before October 31, 2005. Linda Shafer
& Barry Silverberg are Conference co-Chairs. Contact Barry
Silverberg at barry@amcreativityassoc.org
with questions or suggestions.
Paul Schumann (www.theinnovationroadmap.com)
is organizing a focus on advances in the understanding of innovation
in organizations. The desire is to have seminars, workshops and
panel discussions on new systems and knowledge of organizational
innovation, especially open, collaborative ones. Topics of interest
are developing insights in a complex future, discovering
opportunities and threats, attracting collaborators and leading
collaborations, open systems for innovation, issues of recognition
and reward in open collaborations, the microeconomics of innovation
and measurement systems. Anyone interested in this special focus on
innovation should submit a proposal on the ACA web site.
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Creativity and the
Future
Creativity and the
future are inextricably intertwined. We create the future and
creativity is required to perceive the future being created. In
today's complex environment, foresight requires the interaction of a
number of creative minds with expertise in a variety of fields.
Creativity is required to analyze or synthesize data from noise,
knowledge from data and wisdom from knowledge. And, that creativity
must be tapped and channeled through the use of appropriate futures
methodologies. This presentation will cover some concepts of the
future and useful ways to utilize the creativity of people to
develop foresight. It will also include a discussion of the limits
of our ability to forecast.
You can download
(wmv, 8.9 MB) a copy for free (low resolution) or order a CD
($14.95).
Paul Schumann is a practicing futurist with
expertise in creativity and innovation. He has lived long enough to
see forecasts fail and succeed, including some of his own. He had a
thirty year career with IBM in three very different arenas - as a
technologist and technology manager in semiconductor technology, as
an internal entrepreneur creating the first independent business
unit within IBM, and as a cultural change agent developing a more
creative and innovative culture. Since retiring from IBM he has been
consultant as a business futurist with programs in creativity and
innovation. He is the founding president of the Central Texas
Chapter of the World Future Society (www.CenTexWFS.org).
More information about Paul can be found on his web sites - www.theinnovationroadmap.com
and www.glocalvantage.com.
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