I continue to think through the ideas of containers in dialogic work. Thanks to some conversations with a couple of colleagues I had a thought today about the three-cornered nature of the container.
Inspired by the idea of a trialectic, we can describe containers as occupying a space between three points, depending on what they are, what work they are doing and the nature of the substrate in which they sit. The thee points are Designed, Built, and Emergent. Each of these three has a particular focus. The Designed container channels intention. The Built container provides retention and the Emergent container arises from, and demands, attention.
In facilitation practice, the language tends towards designed and built containers. We talk about holding space, we talk about the boundaries, the physical space, the beautiful question, the method. The role of the facilitator is often defined as a person that designs and holds containers.
Complexity however bids us to pay attention to what is happening. When humans meet, containers emerge, almost instantly. Our attention is directed and held, not with the help of a facilitator, but because the constraints of the situation shape what happens. Some constraints precede the encounter, like physical space, organizational history, culture, and power relations. Others emerge through interaction itself. Some are brought by the designer into the room. Together they constitute the container.
Every actual container is some combination of design, building and emergence. The space between these points is what matters, Asking where a container sits within the triangle tells us what work is being done by intention, what work has been stabilized in material, legal, or social structures, and what work must remain open to emergence.
Different types of containers need to do different work. A storage locker is a kind of built container whose work is only the retention of a space that can be filled. There is very little intention paid to the design of a storage locker, and once one is built, it doesn’t need to be designed again. Not much emerges within it. That’s a feature.
An emergent container is one that arises, for example, when two friends meet on the street. In the moment of encounter, a boundary begins to form and an attractor holds the attention of the interaction. When two friends are actively engaged in a conversation on the street there is stuff going on that an “outsider” would struggle to understand. What is at the centre of their shared attention might not be shared by others. You can feel how this little social space is carved out of the rest of the environment. A conversation between friends relies on attention to proceed, and both bring attention to the moment. No designer. No robust structure that must be held.
A designed container is something like a meeting method. When I am using Open Space for example, I am bringing a deliberate intention to the group. “We should meet this way. The conversations should flow like this. The outcomes can be harvested here.” This can be both helpful and extremely perilous.
When design makes contact with reality is the critical moment. Design is only the beginning. Once people begin interacting, the container inevitably shifts toward emergence. Good facilitation is less about preserving the design than noticing where the design is making contact with reality. If the design is held too tightly, the designer is privileged in the space and the group loses possibilities for true emergence. If the design proceeds from the use of constraints to shape interactions, that can be extremely helpful. If the work is complex, bringing attention to bear into the work is critical. The facilitator role shifts from being the process host to holding attention to what is emerging. Not to name it, or to synthesize, but to inform the next move of shifting constraints, including by enlisting the group in that work: “Should we take a break? Do we need more time? Is this the right question? What’s happening now?”
Design that contacts reality in a built container is one in which intention informs the retention. This is how architecture works. It’s about the deployment of pattern languages (in the Alexandrian sense) to the built environment. A living built environment begins with intention that translates into retention provided by stable structures in the built environment. It alos provides affordances for the attention of the users of space to learn and shape the space afterwards. Think of a community garden, or over longer scales, the built environments of towns and villages that shift and change over the years. Stuart Brand wrote about this in “How Buildings Learn.”
I’m exploring the idea that dialogic containers are spaces and moments (physical and non-physical) in which humans make meaning. Dialogic containers are not things facilitators create or hold. They are patterns of constraint within which meaning-making becomes possible. Good facilitation lies not in holding the container but in learning when to design with constraints, when to rely on built ones, and when to let emergent constraints lead.
The photo for this post was taken on Whyte Avenue in Edmonton last June when the Edmonton Oilers were in the Stanley Cup Finals. Everything in this photo can be mapped in the triangle above.
Back in April at the most recent Art of Hosting we convened, someone asked me “does the Art of Hosting make good faith assumptions about people?” I’ve been thinking about that question ever since, and not satisfied by my answer which, came from a more defensive posture.
I think the short answer is, yes…
The last line from a prose poem by Grace Yee called “Living Among Trees” From the latest issue of Heat:
…I know that when lightning strikes a giant sequoia and burns out its heart, you can step inside the trunk, look up at the sky and hold it.
Questions are the central preoccupation of my work. I ask them of clients, we ask them together, we ask questions about questions to be sure that we are asking good questions and when we aren’t we ask questions about what would be the better questions. In uncertain situations, the quality of our inquiry often matters far more than the quality of our answers.
So much of my work deals with supporting groups and organizations as they explore uncertainty, ambiguity, and unknowable futures, that answers are usually less helpful than good questions. The question often then becomes, what makes a question good?
For years in the Art of Hosting I have avoided teaching about good or powerful questions. My reticence to do so was based in the idea that knowing what a good question is is so context dependant that I couldn’t possibly tell you unless we had a context to work with. I think the role of hosts is not arrive bringing the powerful question but to arrive bringing the attention needed to notice the questions that are alive in a field of work.
There are however a few useful pieces of scaffolding that might hep a person get started in thinking about questions. At a recent Art of Hosting, my colleagues taught a short introduction to powerful questions using a kind of hierarchy of questions that is contained in Vogt, Brown and Isaacs’ “The Art of Powerful Questions.” It looks like this:
from Vogt, Brown and Isaacs’ “The Art of Powerful Questions.”
This hierarchy started me thinking about this post. In re-reading the Art of Powerful Questions, I could see that there were two distinct practices discussed there. One was the practice of designing questions. The other is the practice of discovering questions. As one source in the publication says:
“Discovering strategic questions is like panning for gold. You have to care about finding it, you have to be curious, and you have to create an anticipation of discovering gold, even though none of us may know ahead of time where we’ll find it. You head toward the general territory where you think the gold may be located, with your best tools, your experience, and your instincts. And then you begin a disciplined search for the gold.”
THAT is what interests me.
A question does not have power on its own
Let’s stick with the first practice for a moment: designing questions. Every facilitator at some point has kept a journal of good questions. When you do you start to notice that it is impossible to speak with certainty about what makes a question powerful. What this hierarchy does is to put various English interrogatives into a kind of sequence, not of powerfulness actually, but ostensibly of openness. Yes/no questions are clearly more limiting than Why or What questions. But I don’t know if they are more powerful. One of the most powerful questions I ever asked was “Do you want to get married?” It was by far the most consequential question of my life and it really came down to yes or no. Likewise, one of the most debilitating questions I was ever asked was from a teacher who was frustrated by what I later learned was a classic presentation of ADHD who asked twelve year old me “Why do you disappoint me?” If a yes/no question has two answers, that Why question had zero. And perhaps it was powerful, but it wasn’t generative. It was, unknowingly to the frustrated teacher, cruel.
The other thing to note about how questions are skewed by context is that the questions above were put in a relational context. “What do you think you’re doing?” is not really a question, and it carries the overtones of disapproval from a person in power. Questions like that are carried in a medium of relationship that render the hierarchy of powerfulness almost useless.
There are lots of different kinds of questions. There are closed questions and open questions. There are questions that we have answers to, questions that lead us in a certain direction, and questions that invite us to keep uncertainty and openness and exploration alive. There are questions about the past, the present and the future. Lineal, circular, strategic and reflexive questions. Directed and undirected questions, and so on. I spend a lot of time helping people to NOT ask yes/no questions like “Did you receive good support for this problem? If no, please explain.” It’s better to ask “What kind of support did you receive?” and have people share a story and tell you themselves if it was good service or not. This is the basis of work with Participatory Narrative Inquiry
The Art of Powerful Questions as a document really came out of a conversation between a number of people involved in the World Cafe community as they were thinking about questions, and I recommend it as a good starting point. The World Cafe community continues to explore this question about questions.
After working with questions for many years and especially increasingly working in complex and emergent contexts, I think my practice has led me away from designing good questions to trying to discover them. As a leader in places where I have led sometimes framing the right question is the right thing to do, but it is about adopting the stance of inquiry that is ultimately more important that having a perfect, powerful question.
Questions are proposals embedded in contexts
Questions are embedded in contexts. The combination of the question and the context creates a kind of proposal for action. What has intrinsic power in a complex system is the questioner. As a facilitator, if I ask a question of a group, it collapses the field of possibilities in the room because I have made an implicit proposal about what is important right now. Even if I have spent time to craft that question with a bunch of people from the organization or group I am working with, the act of me asking that question is where the power lies. So, while it is important to pay attention to assumptions embedded in questions, it is also important to be aware of the proposals embedded in questions.
A question like “What is it you plan to do with your one wild and precious life?” is a beautiful question. But if I ask it in a group I am making as assumption that the people I am asking it about have similar thoughts about their lives as Mary Oliver does. I am also making a proposal, as Mary Oliver does, that I’m possibly not doing enough in my life to bring more attention or purpose or meaning. Or I may be assuming that folks, as she says
know how to pay attention, how to fall down
into the grass, how to kneel in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Not everybody has that kind of idleness at hand to be able to reflect on whether contemplating a grasshopper was a good use of time. Asking folks that question devoid of the context of their lives, the urgency of a situation, or the consent to be in that conversation is a hell of a proposal. Imagine asking a seasonal farm worker that question. Or the Dalai Lama.
Beautiful questions are not necessarily inviting questions
Mary Oliver’s question is beautiful. It stands on its own because it is a poetic statement. I’m not sure it actually wants an answer. It seems to invite a turning, a metanoia, a repentance. If it were offered in a therapeutic context, it might directly imply that I’m not doing the RIGHT thing with my one will and precious life. The question therefore intimidates me and subjugates me to the author’s intention. When that intention is hidden, I feel manipulated.
I do see this often in questions that come my way like “What would be possible if we trusted each other more?” That is a question that immediately drives me to thinking about its opposite. In my world, even as a person who tends to trust more than I should, there are definitely people I should be trusting less. The idea that MORE trust leads to more possibility contains an embedded assumption, an implicit proposal and a predetermined pathway of inquiry. It avoids the first principle of good complexity work and lets the framework determine the data and not the other way around. There is no new meaning to be made from a question like that, really. The conversation is likely to be abstract and opinionated at best. And might be a naive casting about in an unknown future at worst.
That’s not to say that we can’t learn from questions like that.
If we really wanted to examine trust I might start with having people tell stories about trust to each other. How trust operates in different contexts matters, and so if the exploration is not be useful, the stories have to be relevant to the context either because they are directly related to the context or they become connected to the context through reflection and collective sense-making. Nevertheless, it’s no good that assuming that MORE trust leads to MORE possibility if there is a chance that trusting some people less in order to opens up the possibilities for a field.
Good questions can be answered by everyone, and get the facilitator out of the centre.
Not all conversations are the same, but a lot of my work deals with looking at what’s happening and exploring change. This implies a trajectory to the questions, from the present state towards a direction of travel that we might discover together. My favourite questions for this, and still the ones I use as a basic template for work are Terry Borton’s reflective questions: “What? So what? Now what?” These are so simple, and yet they hold us, as facilitators, at a distance from the group’s work, which is a good thing. They ask of us to become hosts that works with the constraints of the system that shape actions, rather than the attractors that collapse what’s possible into a single, deep, valley of channeled conversation.
As basic source code these questions are helpful. Almost every change or planning process I work with starts with “What?” There is nothing better at getting directly to the urgency of a situation than by asking what the hell is going on and then shaping the constraints of the situation such that everyone can contribute to that conversation. There is not one answer. There is a survey of the field and the perspectives in the room that gives us enough information with which to act, because in complex situations that is what we need.
The “So What?” question invites the group to look at what they have said is the “What” and make sense of it. What does this mean for us? This is the area of exploration, negotiation, discussion, perspective sharing, learning. From this sense-making comes the turn to trying things out. “Now What?” is about the actions we might to take to address a problem, explore and option or move this into a new cycle of inquiry, Glenda Eoyang calls her version of this loop “Adaptive Action.”
There is a similar construction in the Technology of Participation body of work known as ORID, which helps people in inquiry look at Objective questions, Reflective questions, Interpretive questions and Decisional questions.
Again, these methods imply a directionality to an intervention, but as long as that intention is clear and transparent and lands a proposal for action, I think the direction is ethical. If the group refuses the proposal, then the question becomes “What do we do now?” I’ve had a few cases of these in my life and they are good lessons in humility and excellent examples of watching a group activate its collective capability to frame its own questions and inquiries.
The most consequential questions are often the ones the group recognize as their own
So this brings me around to the point. A question shapes the field of attention. In complexity terms it becomes a constraint and makes some things easier to notice and others easier to ignore. It channels attention and participation. If it is understood as a probe to that system, to see what else might emerge, it can be useful. If it is held tightly as The Thing We Are Here To Talk About then it becomes non-consensual and it suppresses the emergence that is needed for a group to discover and rely on its own capability and distributed knowledge. For complex and uncertain work, including planning, change, and culture, the questions are already in the field. They are the ones that everyone is asking in their minds. Not “What would be possible in five years if we became a more welcoming community?” but rather “What are we going to do about these damn tourists?” (That might be from a real situation. 😉 )
But what about my one wild and precious question?
So the most powerful question is not the one that the facilitator brings. In fact my advice would almost always be to start with “What’s happening?” and go from there. Bring attention, not intention. When a group develops enough shared attention sometimes the powerful question emerges there and it seems obvious. We need to not go looking for beautiful constructions, poetic and inspiring language, or even hierarchies of importance. We need to pay attention to the conversations that are already happening, the questions that people are asking themselves, the relational fields in which those questions are being asked and the larger context of need and purpose that forms the proposal for the intervention.
Practitioners intervene. That’s what we do. Letting go of the need to bring the powerful question helps us to do it better because it turns a predetermined intervention into a collectively help proposal for action, one that can be explored, contested, rejected, accepted, or changed. Start simple and be transparent. Start with a question that everyone can answer, one like “Can you share an experience of… What happened?” Take the answers to those questions and give them to people and ask them what they make of them. Then let the next question emerge from what the group has made visible together.
I am sitting on the pier, fuelled by an espresso, just having completed volume 2 of Solvej Balle’s story On the Calculation of Volume. Volume 3 is sitting next to me ready to be cracked open as I wait for a friend to arrive from the mainland.
Balle’s work has been lauded for its beautiful writing (beautiful in translation too, thank you Barbara Haveland) that moves at a measured speed and is very clear and incisive. This is a story about noticing, set as it is on an eternally repeating 18th of November, charting the narrator’s exploration of her world. It sits very comfortably beside Samantha Harvey’s Orbital; a short novella that is saturated with gorgeous passages of writing, a novel way of seeing time and space, and an almost imperceptible pace.
As the title suggests, this is a book that investigates depth. Towards the end of the second volume comes the clue that unlocks the plot device: “Time is not a circle and it is not a line, it is not a wheel and it is not a river. It is a space, a room, a pool, a container.” Volume 2 ends with a beautiful three page meditation on the world as containers, which I can only invite you read for yourself.
Locked in this container of time, the narrator Tara Selter has to discover depth in order to give her life some meaning. The story meanders between longer explorations, that include trying to solve her problem, seeking an experience of seasons, exploring the history of the land in which she finds herself. As she goes she records notes about what is important to her. It’s not clear that there is any reason for that other than that she is consigned to this single container of time as a human, she seeks deeper and deeper meaning in it.
One passage that stood with me is a conversation she has with a meteorologist she meets, who explains to her what season are:
“…the meteorologist then began to reflect on our strange relationship with the seasons. She talked about astronomical seasons, and meteorological seasons. About the calendar years division into spring and summer months, about people’s surprise when meteorological phenomenon did not occur with the calendar, even though everyone knew that any attempt to synchronize the weather with the predictability of planets and calendars was pointless.
She did not believe, however, that seasons could be regarded as meteorological phenomenon. Temperature and precipitation are meteorological phenomenon, she said. Cold and heat, cloud burst and drought, but seasons? She saw them more as psychological phenomenon. Memory concentrates. Accepted stereotypes. Conglomerates of experiences and feelings, perhaps. People ask if it won’t soon be summer, even though we are well into July, simply because the summer has been on the cool side. As a meteorologist one is almost expected to deliver particular weather conditions at particular times of year, she said. A proper summer. A proper winter. As if you hadn’t done your job until you had delivered a certain sort of weather. We going to have a winter this year? As if the seasons were a concept of sorts that we dragged around with us. From childhood perhaps, she said, with winter snow and summer sun. Or perhaps not even that. Perhaps the human seasons really only existed in films or in our photo albums. Especially if you have children. She did it herself: took pictures of typical seasons. She had noticed that she took more pictures from the seasons that lived up to our expectations of them: pictures of snow in winter and bright sunshine in summer, a hot day on the beach, red and yellow leaves and a child in rain boots in autumn – and always snaps with sandals in the summer, even in summers when most days were rain boot days. As if we had templates for the seasons, and when everything fits, we take a picture. As if it is an event in itself that the weather has gotten right. If it is winter in a film, there is always a little snow, she said. Or frost. Even if the film is set in southern Europe, there will always be a sprinkling of white, to let us know that it is winter.”
Containers and constraints generate the spaces inside which we make meaning. What we choose to see, what we fit with our predetermined ideas, or what emerges as we explore things that aren’t implied by the constraints themselves. Containers are emergent. Meaning arises within them and about them.
Balle’s work is a gorgeous meditation on this, with a gently travelling plot line that takes sudden turns into new landscapes contained ointment the experience of a single day.
Volume 3 sits beside me. Volume 4 has just been released in English. There are seven volumes in total. All calculated.