Reflecting these days on some two day courses I have coming up, including one on complexity and social change, one on invitation practice and one on Open Space. Each of these courses is workshop to introduce people to a practice or a set of practices, as opposed to techniques and skills. In each of these workshops people will come away with an ability to go into the practice, literally as artists. These are not technical trainings designed to download procedures and methods. They are courses that will leave you ready to practice, ready to make mistakes and learn as you …
Last weekend I took a ramble across Bowen Island, where I live, with a friend and colleague, Annemarie Travers. Annemarie and I have been teaching the Leadership 2020 program for a number of years now and we both love walking: she on the long pilgrimages of the Camino and Shikoku and me in the mountains of southern British Columbia. We are also both interested in managing in complexity.
My friends over at the Social Labs Revolution website have been fielding questions about the prototyping phase of labwork and today published a nice compilation of prototyping resources. It’s worth a visit. It got me thinking this morning about some of the tools I use for planning these days.
As Bronagh Gallagher and I have been musing about our offering on complexity, facilitation and social justice, we have been discussing the shift in activism from ideology to evolutionary. Ideological movements try to coalesce activities and people along a line towards a fixed end state. Evolutionary movements start with intentions, principles and move outward in multiple directions along vectors. They adjust and learn as they go, and they both respond to and change their context. This nice post from Network Centered Advocacy capgtues what I’m talking about by first looking at how a lacrosse player’s artistry evolves in changing contexts …
My friend Avril Orloff shared this beautiful quote on her facebook page. “Nobody tells this to people who are beginners. I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple of years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past …