Aesthetic Practice: The Power of Artistic Expression to Transform Organizations - Revue Gestion de Science (RGDS)

Retue Sciences de Gestion. no 70- o. 63 d 82

Aesthetic Practice: The Power of Artistic Expression toTransform 0rganizations

Debra Orr, Ph.D.Roosevelt University

This paper explores a case sfudy investigating a new approach toorganization developrnent called Aesthetic Practice. AestheticPractice is a process in which artistic nredia are ttsed to engageorganizational members in collaborative learning, sensemaking anclchange. Aestlrctic Proctice is cleveloped b.y drawing tm tlrc s.vnerg,.V

betv,een fottr establisltetl tlteoretical streants: artistic integration, ilteexpansive qualilie,s of ntetaphor, collectit,e co-crealiott, andexperiential learning. Tlte outcones of the inlervention are alsoanalyzetl, both in a theorelical sense .for their usefulness ancl valueand with regard to practical application in tlrc case. Tltis paperdiscusses six outconrcs f'ont the use of aesthetic praclice, including,sensemaking, embracing complexily, articulation of values, creatingshared vision, expression of organizational emotion, andb r e akthroughs in kn ow I e dge.

Keyrvords: Ae sthe ti c practice, co llective co-creation, organizati onalemotnn.

Cet article analvse un cas d'approche innovante dans le domainedu ddveloppement organisationnel dhtotnmd < Pratique esthdtique >.

II s'agit d'un processus au cottrs duquel les mddia artistiques sontutilists pour impliquer les membres de l'organisation dans unapprentissage collaboratif pour la production de sens et dechangement. La pratique esthbtique s'est diveloppee en utilisant lasynergie entre 4 principaux courants th,loriques : intigrationartistique, la force des metaphores, lo co-creation collective et

64 DEBRA ORR

I'apprentissage expbrientiel. Les rdsultats de I'inten,ention sofft aussianalysds, d la fois dans le sens de leur valeur et utilitt et en relationat,ec letrr applicatiort pratique dans ce cas. Cet article perilrcl dediscuter six risultats de l'utilisation de la pratique esthdtique,l'inclttsion, la production cle sens, la prise en compte cle la complexite,I'articulation des valeurs, la crdatiort d'une vision partagie,I'expres,sion de I'tmotion organisationnelle, et les innovotions dan,s lacrt a I i on de r:ut noi ssancc.

Mots-clds:. pralique esthelique, co-crtalion utlleclive, tnutlirtnorganisolionnelle.

Iil presentc orlicLrlo anolizct ntl caso de en{oque inn<;r,atlor eu elctuttp{l del desarrollo organizacional llanmdo < Practica esltlica >. Se

trata de Lffi proceso dtrante el ual se emplean los meclios de

contunicacion artisticos para invofucrar a los xtiembros de laorganizacion en tut aprendizaie colaborativo para la producci6n de

sentido y de can$io. La practica esfttica se ha desarrollado gracias ala utilizacion de la sinergia entre I principales corrientes teiricas;integraci6rt arti,stica, fuerza tle la metafora, co-creaci6rz colectiva yaprendizaje de experiencia. Tanfuitn se analizan los resultados de laintervencion, tanto desde la optica de str t,alor y tttilidad cotno de su

aplicaci6n praclica en este caso.

El artlculo permite estucliar 6 resttltatlos de Ia utilizacion de laprdctica estdtica; la itclusiort, la procluccion de sentido, laintegracion de la complejidad, la articulacion de valores, la creaciotrde una ttision compartida, la expresi6n de la emoci6n organizaciortaly las innot,aciones en la creaci1tt de conocimiento.

Palabras claves: pt'dctica estdtica, co-creaci6n colectiva, emoci6norganizacional.

Introduction

Art is lhc skill of lransformation. TIrc word "an" comcs frour theLatin ars and 1hc Grcck techne (Raleigh l97l). Whilc the etiologistsof languagc u,ill likel.v sa1' llnt thc u'ord emerges from llrc idea that

AESTHETIC PfuACTIcE: ARTISTIC EXPRESSIC,\ TL I;.:.,:,:. . :

clay can be fonned imo vases or notes 1[ito i],'-*.__art is also transfonnative of people. peopl: ,::participation in art and affected br- tlie s ortrs *;: -,r.,and create. They learn about thenueires. c.,;- rwhich they lir.e by participating in this sing,ri::--, ;,*paper explores a case of lrorv that trarr<ic-.-..:aesthetic practice.

The purpose of using aestlretics ir orsl: -_.:linlen entiolts is to enable organizat_ronei r..: ' r,_visualize the multitude of paradoxical int-1,.;.,:,:;organization or driving organizational issu.,, :,.vision. Aesthetic Practice then is ar org:i:_:.:,r:inten,errtiolt designed lo facilitate tlus i .= _: ,

engaging serreral learning rnethodologies sin-,:- -.r.use of art. While art encompasses a l ide r-al::. _ - ,drama, music, song. dance and a varieh ol r-t-'-..r -focus on drau ing

Vico (i725) and Baumgarten (1735) oile I -,-. :thc field of :rcsthctics (in Strati. 2000. paesthctics a specific tlrode of knonir.rg. sepiti:i.: a-:rat.ional knou,ledge. Baumgarlen defined a-sii,: t:! jperceptlon rn gencral". ln Strati's ri.ords. aes::,....:."knol'ing on the basis ofsensuous perception:" _ , '

Strati ernphasizes the episternological aspo: , -,2000. pp. 133-l). and proposes that aestheri;S :r: :ldotninarrt rational-logical paradigrn of or!:r::-_, ,-.alternative method of analysis, organizarior. :. :

unafticulated knou'ledge and capacities. Ttus t. ,:,.uhich is preselrted in tJris paper.

All things are said to lnve an aesthedc c,:.__., :193-l) including ar{. lheat-re, architecrure. p.-*.-. _l .-rainstonn or a business neetinq. ',The a:s,:,:_- ::actual. existing. real objects ard occurrences " ., : _ ,

Therefore, aesthetics is not only the studr oi :--r,c -the ernotional ald mental resporses trig.::::: :elements present in all things. tiris impheiit, ,.,.about tlre rarified elements of fine ari. bui aL*: ,,:,elenrents r.vith rvhich rve interact dailr'. Aesrh=-r:. .everyday lives and should nol be separated iro:-. , -

The affirmative I'alues of the artist n'ill zurr::- -:rWhat the artist thinks is important rvill become ;." .l:rwork. ". . . art is tlrc most effectfi'e mode ol Corril.-_:_ _i

(Dervey, 1934, p.286). Leach (1951) claim;r -'.:

--

,i.

l

AESTHETIC PR-\CTICE: .A.RTISTIC EXPRESSIoN To TR\NSFORI4 oRGANIZATIoNS 65

clal' can be fonned into vases or notes into music, it is apparent thatart is also transfonnatirre of people. People are enriched by theirparticipation in art and affected by the works tlnt they see, hear, touchand create. They learn about themselves, others and the context inu'hich they live b,v participating in this singularly hunan activity. Thispaper explores a case of how tlnt transformation occurred usingaestlretic practice.

The purpose of using aestlrctics in organizational developmentinterventions is to enable organizational members the ability tovisualize the multitude of paradoxical influences acting upon tlreorganizalion or driving organizational issues r.r,hen developing avision. Aesthetic Practice then is an organizational developmentinten'ention designed to facilitate this visualization process byengaging several learning rnethodologies simultaneously tlrough theuse of arl While art encompasses a s,ide variety of activities includingdrama, music, song, dance and a variety of visual arts, this study willfocus on dratving.

Yico (1725) and Baurngarten (1735) offer the first definitions inthc ficld of aesthetics (in Strati. 2000. p. 1-t). The1, consideredaestltetics a spccific n-nde of knou'irrg, sepztrate frorn intellectual andrational krrowledge. Baurngarten defined aesthetics as "the science ofperception in general". h-r Strati's rvords, aesthctics can be defined as"knol ing on the basis of sensuous perceptious" (2000, p. l8).

Strati ernphasizes the epistemological aspecls of acsthetics (1999.2000. pp. f -i3-l). and proposes that aesthetics arc an altemal.ive to thedotninant rational-logical paradigm of organizations. 81' using analternative method of analysis, organizations can reveal previouslyunarticulated kno'w,ledge and capacities. This is true in tlre case studywhich is prcsenled in tlils papcr.

All things are said to have an aesthetic qualif to them, (Der,vey,1934) including arl tlreatre, architecture, poetry or an event such as arainstorm or a business meeting. "Tlre aesthetic is the dornain ofactual, existing, real objects and occurrences," (Reimer,1972, p. 100).Therefore, aesthetics is not only the study of fine art, it is also aboutthe emotional and mental responses triggered by the aestheticelements present in all things. This implies that the aesthetic is notabout tlre rarified elements of fine art, but also about the commonelements with lvhich we interact daily. Aesthetics are a part of oureveryday lives and should not be separated from day to day thinking.

Tlre affirmative values of the artist will surface through his/lrcr art"What the artist thinks is irnportant r.vill become evident through his/herr.vork. " . . . art is tlre most effective nrode of communication that exists"(Dewey, 1934, p. 286). Leach (1954) claimed, "to undersrand the

66 DesRA OnR

etliical rules of a socie6,, it is aesthetics tlnt $,e must studr'." (195a. p.

I2). Art, tlrerefore, is illurninating of rules of conduct or culture andpriorities. Art is a velfcle of commonalitv: it illuminates the unspokenrules, values, tmths and priorities of a culture. Ernotions are a criticalpiece of this question and are often times dismissed as superfluous toorganizational life. Hou'ever, ernotions and emotional responses giveus information about prioritie s. Martha Nussbaum of the Universitv ofChicago rvrolc" "Eurolions arc a fonn ofjudgurcnt and thus aspccts oflhouglrt"" (Nussbaunr. 20()l). Our rcsportsc lo lltc acsthctic docs not

lic. BY tltc rcspouscs lltal u,c oursch'cs crqtlc. u'c lcant u'hat u'c llndprourising" frightcning arrd cxciling in Ilic futurc.

To practicc sorncthing is to rnakc usc of i[ habiluall-l' or oftcn. It islhc act of c.rccuting or accourplisltiug: or 1o applf in action. Praclicc is

a rccursi\jc and itcralivc proccdurc. lt inrplics tltc rcgular applicationof an ever-refirfng process. Lr tltis seuse, practice is "to appl-y inaction' the elernents of the aesthetic, thereby bringing to life a

S,pically unconscious and intellectual process: our reaction to ar1 orbeauf. Practice, therefore, r'r,ithin the context of the use of aestheticpractice, is tlre animation of tlre evocative process.

Methodolory

The research rnethodology for this study rvas grounded theory.Data rvas collected through participant-obsen'atiorq semi-structuredinlerv'ien's and flre analysis of pa{icipant-created art objects. Thispaper features a case study that is extracted and extrapolated from thatdata. The model lvas developed through a process of opeq a-rial andselective coding. The intent of this research approach is to explore thephenomenon of aesthetic practice in a naturalistic setting, throughapplication, dialogic and reflexive methods. The purpose of utilizingthis approach is to discover, describe and develop themes, patterns andcategories to understand tlre integration of aesthetic practice inorganization development interventions. Grounded tlreory does notmeasure efficiency nor compare one thing rvith another. The goal ofgrounded theory is to crcate a hypothesis based on the data that ispresented and the question before the researcher. to describe aphcnomcnon in a rl,ay that makcs scnse n ith thc litcraturc and toconccptualizc u,hat is happcning. Thc proccss for ga{hcring lhis data

\1:as a scrics of aclnal organizittion dcvclopmettt intcn'cntionsdcsigncd {o crcate vision and dcvclop strateg,v. Tu'o difleren1organizations partieipalcd in lhe rcscarch to dcvclop this grounded

AESTHETIC PILACTICE: ARTISTIC EXPRESSI.\ Ti. T.-.]

theory. One of those organization's cas:spaper.

The organization case tlut u.ill be drs:,_..=_Conr.ention and Visitor's Bureau (C\BChicago. In the United States. C\E's :organizations that are funded tlrough a t_funds rvith tlre goal of attracting tourisit-_dollars, to a parlicular region. All C\Bs ::required to submit a strategic plan to the L.-,(IBOT) each year in order to obtain fund., .Iocal CVB Board of Dircclors ureeune rr; :-_thc plan is ratified. il bccarnc upp*.ni rl",was not mceting the needs of the CVB Tdevelopment of a long-range strategic plan -_to the next level of prominence and success

Of specific interest to this studi. is th; .

long-range strategic plan for the C\B The ',

emplol.ed aesthetic practice.Staff rnernbers of the C\rB l'ere schcc,_:.:

tlte visioning sessior"r ar.rd ureurbers of th: linvited to atlelrd g.ith the rernindcr tliar ir ,.i ,

the idea of a long-r:urge strategic plan.Prior to arrival. atlendees \\,ere asslsit.-;

groups *'crc sclccted in order to addrr-ssdistribution of upper lnanagctnent across :.nuurber of board lncurbcrs in mch groLrp

At tlrc visioning event, participants ri::;furnished with large paper pads. a pack of it.other drawing impletnents.

Attendees were asked to dra*, their r e :.CVB. Approximately forty-five minutes ri;: -The groups did not irunediately set ro ,,,, ::jsignificant discussion, hcsitation and con:;_which lasted approxinutely fifteen rninure : :_ :solne reassurance from the facilitator that i. .. . ,- .

that is important and not the beaug' of rlt; :-, _

began to rvork.After thc allotted time, the drau'ings \\ c.;. : , i ; . -

the next and one group discussed and er;.._.::another group. Explication is the deconstr:,r:_, _

aspects of art in order to more fullr' &DDfi.tt-:.: ,_,:rvork. Tlre drarvings arc metapironcal :- - _ . .

possibilities of tlrc future for the CVB. For i-*::,

{ESTHETIC PR.ACTICE: ARTISTIC EXPRESSION TO TR-ANSFORN{ ORGANIZATIONS 6'7

theory. one of those organization's cases *'il be explored in thispaper.

The organizatio' case that rvill be discussed in this writine is aconvention a'd visitor's Bureau (cvB) in a region o'tsiie ofChicago. In the United States, CVB's are quasi_go'errunentalorganizations that are funded through a mix of public and privatefunds rvith tlre goal of attracting tourisrn, visitors and, ultiinatelvdollars, to a particular region. All cvBs in tlre state of Illinois arerequired to submit a strategic plan to the Illinois Bureau of rourism(iBor) each year in order to obtain funding from the state. At thelocal C\B Board of Directors meeting where the yearly approval ofthe plan is ratified, it became apparcnt that the current strategic planu"as not meeting the needs of the cvB. The time had corne foi thedevelopment of a long-range stmtegic plan flrat r.vould move the CVBto the next level ofprominence and success.

of specific interest to this study is the visioning session for tlrelong-range strategic plan for the cvB. The

'isioning process actively

employed aesthetic practice.Staff rnernbers of the CVB *'ere scheduled b_r, the CEO to attend

the visioning session ar-rd mernbcrs of the Board of Directors u,ereinvited to atterld rvith the rerninder that it u'as tlrey rvho had initiatedthe idea ofa long-range strategic plan.

Pnor to arrival. atlendees rvere assigned to groups of five. Thcgroups rvcre selecled in order to address gender equity. an e\rendistribulion of upper managenent across thc groups and an equalnurnbcr of board urertrbcrs in each group.

At the visioning event, participalts were seated at round tables,furnished with large paper pads, a pack of multi-colored markers andother drawing implements.

Attendees were asked to draw their version of the future of thecvB. Approximately forf-five minutes rvas alrotted for the drawins.The groups did not immediately set to work drau,ing. There rvissignificant discussion, hesitation and concern with creative abilih,r'vhich lasted approximately fifteen minutes. After that time. and u'it-hsome reassurance from the facilitator that it is the beauty of the ideathat is important and not the beauf of the drawing, the participantsbegan to rvork.

A,fter the allotted time, the drarvings were passed from one table tothe next and one group discussed and explicated tlre draning ofanother group. Explication is the deconstruction of tlre rnetaphoricalaspects of art in order to more fully appreciate the meaning of thework. The drawings are metaphorical representatiors of thepossibilities of the future for the c\{8. For purposes of clarifuing the

68 DreRA ORn

methodology an exarnple is sholret in Figure 2 to illustrate the process.As thel' tvere interpreting the drarvings, the comments l\.ere recordedb-v a member of the group. Each group presented another's drax'ing toflrc full group and gave the story, l'hich they created to coincide withthe art" The themes u'ritten during the story-crafting stage rl,ere placedon a rvall behind tlre interpreter, for use at a later tirne. The themesrvere later used to craft the vision statement.

Data analysis

Thc proccss of intcraclion/cngagcnrcnt and courparison is crilical10 a succcssful outcoruc in acslhctic praclicc. Thc CVB groupsaccomplislrcd this lhroLrgh thcir comparing thcir o\t,n group's dran ingwith the drawing provided by another group. This process could bernodified though, depending on the size of the group rvilh tvhich afacilitator is u'orking. When refining our understanding tluough theuse of aesthetic practice we are exarnining the details and nuances ofour problem. We are relating to the problem in an integrated rvay -through our emotions: horv tlre problern makes us feel; though oursenses: horv the problem is experience empirically; though tlre logicalmind: lrorv the elements of the problem are related; through ourinductive mind: rvhat makes serse to us. When using aestheticpractice \ye are able to look at a problem as a holistic system and findthe parts of it which can be snootlred out for greater econornl,. Eachgroup in the case example \vas colnparing another group's perspectiveon the fuflrre rvith their ol\in version of it. This process of comparisoncreated revisions and extrapolations in their o,n n work. Further thefinished product can be used as a reference when studying the issue inthe fuhrre or u,hen educating newcomers to tlre problem. Participantscan iook back over their rvork and remenrber tlrc complete systern of aproblem as a reminder of hotv to keep things in $'orking order, like aco rstruction blueprint.

The central concept of the data is that deeper knowledge can becreated though metaphorical understanding of problems. It is a u,ay toanimate a metaphor and physically engage it through experientialleaming - actually doing sornething with tlre problem. By drarving tlreproblcrn of 'u,hat is the ftrturc?' out in mctaphorical tcnns, thcparticipants nccdcd to afliculatc tvhat lhcir hopcs. drcaurs, fcars andstrcngths as an organiz;rtion arc" In ordcr rcfinc and exlrapolatc a

rurclaphor to bccourc more and more applicablc. one needs to rvork inrl group sctting and 1o co-creale. Thc CVB participants did lhis both intltcir snull group doing thc dmu'ing as \rcll as in thcir largc group

ASSTHETIC PR-ACTICE: ARTISTIC EXPRESSI.,\ I. T.-. . . .

presenting the rvork as well as iterating arlJ :-t--,their comparative exercise. The funcucn : - ,,:.bring r ividness and unco\ er enlou.ri_. :.:metaphorical elernents allow thinking rc !: _::;bi shifting ttre individual scllenra ro .r :: ::allou's various aspects of the problern to b: .:-..,patlern and thus explored.

Six outcomes of aesthetic pracu;: t;sensemaking, embracing cornplexin. ;i:r.. :knowledge, expression of tlrc ernotionel ..:: :_

articulation of values and facilitatins the .i; : , .

Figurc 1 - The Theoretical l'{cde: ,:- -..

In a firLal sense, the vision statement of the rl-,1follows:

C\B Corridor Geographical Region

The path for human experience and oi-,:,_:--j_divenity and dreams weave together and :c:,.: ,,.

-d:STHETIC PRACTICE: ARTISTIC EXPRESSION TO TRANSFORM ORGANIZATIONS 69

presenting tlre r,vork as well as iterating and refining the tvork based ontheir comparative exercise. The function of art is to elucidate trutllbnng vividness and uncover ernotions and assumptions. Themetaphorical elements allow thinking to be unpacked and expandedb1 shifting the individual schema to a new setting. The nretaphorallows various aspects of the problem to be identified rvith a relationalpattern and thus explored.

Six outcomes of aesthetic practice luve been identified:sensemaking, embracing complexity, creative breaktlroughs inknowledge, expression of the emotional side of organizational life"articulation ofvalues and facilitating the creation ofshared vision.

Figure 1 - The Theoretical Model of Aesthetic Practice

In a final sense, the vision statement of the CVEI r.r,as created and is asfollows:

CVB Corridor Geographical Region

The path for human experience and opporhrnities where history,diversity and dreams weave together and come alive.

70 DEena Onn

Corridor Con'ention and Visitors Bureau

To ignite a passion for our legacy and resourccs and nurture thepotential of the Heritage Corridor Region by acting as guides to ourconulunities and ster.r'ards of values.

Corridor Conr,cntion and Visilors Burcau Mission Slatcurcnt

To ignitc, influcncc and impacl thc visitors' cxpcricncc lluouglrlourisur partncrships.

Rcadcrs of lhis vision slatcurenl tvill nolc lhal phmscs such as "palh"."dr*rms u,cavc logcllrct'. ":rc{ing as guidcs and stolards" and "toignilc, influence and in-rpacl lhc r.isitors' cxpcricncc" arc rcflecl.ivc ofthe drarving that was illustrated in Figure 2. It focuses on tlreconnection of tlre resources and the personal experiences of theparticipants. One of tlre most powerful pluases that emerged from tlrcdiscussion of the dra$,ings was that the C\B lrelped farnilies make'Kodak Moments'. For those unfanriliar u'ith tlrc advertisingcampaigq it rvas popular in the late 1970's through tlrc early 1990'sand represented flrat idea tlut families can capture (on the brand offrlm advertised) the moments that rnake thern close. The CVB adoptedthis rnetaphor as tlre C\{B provides the setting and activities tlntcreate those Kodak moment.s. This idea that tlie CVB provides afoundation for stronger familial relationships and human relationships$'as not an idea that had ever been previously considered relevant tothe vision or strategy of the CVB.

AESTHETIC PR{CTICE: ARTISTiC EXPRESSION TC, TI.I:::,:. , " .

Figure 2 - An example of an explicated Aes::r . - : --i

Mixing in elementsfrom other areas ofthestate, was done toilhstrate tbe {bct thatwe are part ofa largersystem with ra'hich wecompeie

Tle sur

uam:ii.and tin

Four theoretical streams

Aesthetic practice, as a method, is not a n:..; . J;jcreating drawings in a social context has L,:c- :_ :beings could drau, on cave rvalls. Hori.e\ er. rr -:_.theoretical threads underpinning the practrce 3r,f -:sr trspecific implementation protocol rvithin o rgaJur; -i : :scontribution to ongoing implementation and iiJ;;::i.interventions within more rigidll- and ;, :.organizatiors.

Aesthetic practice is a process of intene:il:,:heritage to four distinct theoretical threads ,1.-,=i_:autlrors, which have been braided together rc ;r;.;relatiorship: artistic integration, collectir.e co -.-r: :i : :

I eaves, prmrpkins,trees and eagles alldepict the naturalr -beauty ofour area,ald showcase it as aresoutce.

AESTIIETIC PRACTICE: ARTISTIC EXPRESSION TO TRANSFORM ORGANIZAT]ONS

Figure 2 - An example of an explicated Aesthetic Practice drawing

Four theoretical streams

Aesthetic practice, as a method, is not a new idea. The notion ofcreating drawings in a social context has been in me since humanbeings could draw on cave walls. Hotvever, the organization of thetheoretical threads underpinning the practice and the development of aspecific implementation protocol rvithin organizations is an importantcontribution to ongoing inplementation and acceptance of aestheticinterventions within more rigidly and quantitadvely-basedorganizations.

Aesthetic practice is a process of intervention rvhich owes itsheritage to four distinct theoretical threads developed by separateauthors, which have been braided together to create a synergisticrelationship: artistic integratiorg collective co-creation, the expansive

7l

72 DESRA Onn

qualities of metaphor, and experiential leaming. Each of thesetheoretical streams has a history that renders thern useful tools in theirorl,n right. The synergl. of these theoretical streams is s,lut seems todistinguish aesthetic practice from otlrcr rypes of aestheticinterventions. For an intervention to be considered an aestlreticpractice intenention each of these theoretical streams must be present.The simultaneilv of the use of the four theoretical streams helps tobrcak through thc currcnl schcura to :r largcr pictLrrc of potcntialrcalitv.

Thc intcrscction ol lhcsc four lhcorctical slrcarns crcales apou'crful and dl,namic cxpcricncc ibr changc. Acs{hc{ic pmcticccrlgilgcs mulliplc intclligcnccs (Gardncr. l9fi3) u.ithin lhc group tomorc clficicntl-r'surfacc knorvlcdgc and valucs. Gabricl (199 l. p. S7 l)notcs. "Pcoplc ntav bc ablc to articulatc t.hcir cxpcricnccs in andaround orgarri:zations in deeper and more accurate rvays tlroughstories, jokes, and other synrbols than through straight talk."

Artistic Integration refers to the ideas tlrat are present in art itself.Trutl1 emotions beaut-v. and values are emergent through art

Expansive qualities of metaphor rcfers to tlrc idea that leaming isaccomplished tluough analogical alignnrent of a previously knorvnconcept with a netv concept. Analogical aligrunent allor.vs tldnking toexpand quickly and fully.

Collective co-creation refers to tlre idea that futures withinorganizational en'irorunel"lts must be co-autlrored in order to besupported and irnplernented (LewirL 1948).

Experiential learning refers to the fact that people rvlro are activelyengaged in a concrete process tend to lean! retain and applyinfonnation in rvays that rnay improve their conceptual understanding.

Process, theory and outcomes

All organizations face this dilemma: How do rve create sharedvision? If we step back and look at the roots of creating shared visionrve n ill find social constructionism. Social corntructionism r4/as bornout of the idea that people share frameu,orks through which theyintcrprct rcalitr'. Through constmctionist theory. rcalitv is co-creatcdcveryda,v. Cultuml ac{ivitics. rcsearch practiccs and subjccts. nurulcrsof cxpression and intcn,cntion arc all tvoven togcthcr in 1he context ofour rclationships u'ith one anothcr. Gadaurcr (197-5. 1976) calledparticipation in lhc crealion ol'a shared fraurcu,ork. lhe horiz_on ofundcrstanding. Through social constructionist thcon', however. thc co-

AESTHETTC PRACTICE: ARTTSTIC E\PRESSIC,\ T, f._: ::: :

creation of reali6' is engaged everydar. C_, ., ,practices and subjects, rnanners ol expre s.t,:,. .:rvoven together in the contert of our rei:ii:,.._..-:_:Those relatiorships profoundll' affect rlic ::;:,_.idea tlut individuals are the arl- olified sui:. ,

environnrcnls and relatioruhips. The p{'.. :: :-frarnework is that shared fmmelyod<s cha;:r.. -

*4ro participate in tlrem tou'ards a specifi; .. t_..:

Sensemaking

"...it forced yott to think dffirently, ro r,:.:.and maybe say it in a little dffirent va.t. , : -,

The participant r,vho offered the quote :l:' :how the CVB prerriously had thouglrt of ils,-_ ...:and describe itself in a ngl and differ;r: "., .,.

outcolnc of ncsthetic pructice. Scnserrrlii,iit.stirrruli irrto fmnrcuorks. corrsrnrctirrs rrr;::'--- -rnutual ur"rdcrstanding ald the patteming ii. :,,-.concems ltou'lo build contcst and dere lop l :.: --

or othcr relationll actir,itics. Wlien using .: ,

orgaruzations. the use of a svrnbol is a u 1., : , : :. .-

conulloll lrarnc of rcfcrcnce arrd crplrrJ . _ -

problem involves. In the drarving presenli: ,:_, .

and represenktiors rvere used severai Linr;s - _ .including tlre roadrvays representing d,: : _ . -attractions, bu1 also betx,een people" thc su:" -:: :..and family fun that is part of a dav tnp ti,: .:partnenhips behveen agencies and attra;r:.:- : -as the field of study concerned l'ith the prrJ_: _ . :

1996, p. v). Aesthetic practice then is the tl.:-:. :-problems into frameu'orks in order to exp:r:: -, ,.

problerns from a varief of angles allou s :.*.,.:deeper and more related context. The pri:-,. _'mental and active processes to fonn & coo-itr_: , _

praclice links intellectual activig rr irh a,-rir:. : -,more specifically, notes that theorists oi r-::::_-.:"are concerned rvith interpreting or d.:.:. ----symbolic action that create and n.raintain r >:.,-cSymbolization, according to Booth (199-. :

AESTHETIC PR-ACTICE: ARTISTIC EXPRESSION To TRANSFORM oRGANIZAIIoNS 73

creatioll of realiq,' is engaged everyday. Culhrral activities, researchpractices and subjects, manners of expression and interventior-r are allwoven together in the context of our relationships r.vith one anotlrer.Tlrose relationships profoundlv affect the creation of reality and theidea that individuals are the anplified sums of all their dialogues,environments and relationships. The power of creating a sharedframervork is that shared frameworks channel all of the energies of allwho participate in tlrem tor.vards a specific vision.

Sensemaking

"... it forced you to think dffirently, to think of it in a dffirent wayand maybe say it itr a little different way." €S-I)

The participant rvho offered the quote above, was making sense ofhow the CVB previously had thought of itself and now is able to seeand dcscribe itself in a ngv and different 11'1y. Sensernaking is anoutcome of aesthetic practice. Sensernaking is described as placingstirruli into fraureu'orks. constructing mcaning. interacting to producernutual understanding and the patterning of experience. Sensemakingconcems ho'rv to build context and devclop meanings in organizationsor other relational actir,ities. When using art to expand thinking inorganiz.alions. the use of a s1'rnbol is a rvay for participants to creale a

corunon frame of reference and expand their notion of rvlrat theproblem involves. In the drawing presented from the C\{B, symbolsand representations u'ere used several times in tlre example drarving,including tlrc roadways representing tlre cormections betrveenattractions, but also between people, the sun representing the warmthand family fun that is part of a day trip and the lunds representingpartnenhips between agencies and aftractions. Synrbolism is definedas the field of study concerned with the production of meaning (Jones,1996, p. v). Aesthetic practice then is the placement of organizationalproblems into frameworks in order to expand thinking. Viewing theseproblems frorn a varieff of angles allows participants to give therndeeper and more related context. The process involves combiningmental and active processes to form a conceptual construct. Aestheticpractice links intellectual activity rvith action. Smircich (1983, p. 35a),more specifically, notes that tlrcorists of organizational symbolism"are concerned with interpreting or deciphering the patterns ofsymbolic action that create and maintain a sense of organization."Symbolization, according to Booth {1997, p. 96), *...is tlie natural

74 DpeRA Onn

process by rvhich people make bridges betrveen things, betu,een adiscernible syrnbol and sometldng more abstrac{ tve \\'ant tounderstand. " Sy' nrbolizatior"r. then, is learning.

Identrfving variables in organizational issues and defining paltensin seemingly unlinked infonnation is a key comporent of aestheticpractice. Weick states, "people see more things than they can describein u,ords. A metaphor can often capture some of these distinctir,e"pou'crful, privalc rcalitics lh:rl arc tough 1o dcscribc lo sourconc clse.'"(Wcick. 199-r. p.-19).

Embracing complexity

"'l'he illuslralions ltelped to descrihe an abstroct coilcept." (ll:3-l)

The participant rvho offered the conxnent abor.,e about the CVBAesthetic Practice inten'ention was relating to the complexig' of therelationships betr.veen tourists/visitors, attractions of tlrc regions, therelationships behveen tlnse attractiors and tlre agencies tryiry tosupport the developnent of greater tourism in the area. The aestheticpractice exercise helped participants to understand the complexiq'oftheir organization. Cornplex s]'stems differ from conplicated systensbecause complex systems are ones in rvhich the dimensions of theorganizational/ environmental variables, or even the I'ariablesthemselves, are not known. Complicated s-ysterns are ones in u,hichtlre diversity of the variables and their dimensions are knon'n."Complexiq, is thus a measure of lack of information and thus rendersit more difficult for us to fonn pertinent ideas of the organizationalrealities we enact and u,hich can impinge upon us" (Atlan, 1979 inRamirez, 1996,p.237).

Dr. Thomas Bechfler, CEO of Hesta AG, Zug describes tlrefunctional value of art during an inten'ieu' with Ma{ory Jacobsen(1993, pg. 170), "A work of art is all'ays a condensation of thecomplex reality. So art can be a meals tluough u,hich one leams toperceive an intricate situation through a simplified image". Artisticintegration then, can be said to be a form of intellectr_ral heuristic tomarage and embrace complexity" Ernbracing complexig, is anoutcomc of acstlrctic practicc.

Tltc notion of acsthclic pmcticc is bascd upon 1hc conncction of anorganiantion to its u'idcr conl,cxt by rccognizing lhe pailcn.sundcrlying ils in{erplav rvith the cnrrironmcnt and translating tlrcsepattcrns into lnctaphor. This lranslation proccss allou,s tor thcrnctaphor to bc cxtendcd or rcfincd in ordcr to surface nov knou,lcdge

AESTHETIC PR.{CTICE: .ARTISTIC EXPRISSiIII T. T.-.-. .:

or to emplnsize knorvledge ti'luch ::: , _ _

unrecognized. The CVB did this successrl;..-" :-" ,'leatures o[ their region lnd relatinc ,

roadna)'s as a means of connection \-,a,__: -,.Conncctioq of course, relates to trarspi:,._, _

relationships.

Crcative brealithrcughs"It ltelped bring group ideas together y i:; . '

Creative thougltts branching off one p:,({4/t 1_r)

"Creoting a dratv ing affectecl tilv thitll:;,: : : -. . ,. :

"otrt of llze box" of atords cmcl think t1: . .. . .

pictttres. l{/hen dratying we actuall.t, cat):., : :-w ith only y,orcls. " A- I -2)

The paaicipants in the C\B trhc c_,.:-:refcrring to ser,cral ncu, ideas that surfn:ci. .-:.,:a lneans to crcate 'Kodak Mornents'. -iit.,r: -around grouping attractions togcther ts it i-.,:.:t-: ,

efficientll'. The grouping idea elucr_r--I .:_comreclions. Brcaktluougln in knouledg- .::; : -

practice. Melaphors and artuort ctn S;:r,,:difhcult. t:rboo or countcr-culhrral. Topics r,t:::: j:interventions are often deep organizatt,tl: -::.attitudes, ideas ard enotions cotlre ic a\r;:.:,:..artistically articulated, surfacing &ssurtptti.. :,u,

experiences.Ultimately, the use of aesthetic pracu.-; .: : .

solving, whether in rnatters of social jusri:=. .. :,.Collective action sets the stage for the peij:.:. _i

problem, iterate and refine from one aroitc: . --_

another essential element of aestiietic p:::. _:organizatiorx to stretch tlreir thinking- to 3\.::,_ _

to move towards the future rvith a serse ci --,.-get there. Use of aesthetic practice is aLsc , -,,: _

best solution to a problem, refirung our unC;:. _.-,-to try to increase efficiency il the solu'.:: _. "-

"Branching off one person's idea to th: :L ,

organization enabled their creative breakl_1u.. -:.-_.

AESTHETIC Pfu{CTICE: ARTTSTIC EXPRESSION TO TRANSFORM ORGA}IIZATICNS 7 5

or to emplnsize knor.vledge which previous relevance wasunrecogruzed. The cvB did this successfully by identifying particularfeatures of their region and relating them to rvider-rneanines"roadways as a neans of comection rvould be a good ."urrrpl.connectioq of course, relates to transportation, but also to humanrelationships.

C reative b realith rou ghs"It helped bring group ideas together v,hen the picture vas in front.Creative thoughts branching off one person's ideas to the next."(r4/r r_r)

"Creating a drawing affected rny thinking because we had to think"aut of the box" of words and think more creatitely it.t terns of

pictures. I,[/hen drav,ing we actttally came Llp with more than we diclwith only words." 0f'1-2)

The padcipants in the CVB rvho offered these quotes lerereferring 1o seveml neu' ideas tlut surfaced, including the CVB beinga rneans to create 'Kodak Mornents'. Another eraurple is the ideaaround grouping attractions together as a means to urarket thern rnoreefficientlv. The grouping idea emerged from the notion ofcorulectiorrs. Breaktluoughs in kno$,ledge are an outcorne of aeslheticpractice. Melaplrors and artl,ork can surface infonnation that isdifhcull laboo or counter-cultural. Topics addressed tluough aesthcticinterventions are often deep organizational issues. Deeply seatedattitudes, ideas and emotions come to awareness as these issues areartistically articulated, surlacing assumptions and a store of priorexperiences.

Ultimately, the use of aestletic practice is a metlrod of problem_solving, whether in matters of social justice, engineering or tourism"collective action sets the stage for the participants to flllly engage theproblem, iterate and refine from one alotlrer's thinking. Metaphor isanother essential element of aesthetic practice. Metaphor allowsorganizations to stretch their thinking to extend tlreir knowledge andto move towards the future lvith a sense of understanding the u,ay toget there. Use of aesthetic practice is also a method for finding thebest solution to a problem, refining our understanding of a problem orto try to increase efficiency in the solutions rve come up with."Branching off one person's idea to the next" is a way that thisorganization enabled their creative breakthroughs.

76 DpeRA Onn

Expression of thc emotional sidc of organizations

"l,l/e v,ere tall;ing about advertising and drawing people in from allthese areas. Wre probabll, vould have vtritten it down all of that .stuffIl'e pt.obabl-v- tt'<tuld have utritlen a ht,enty-page essay that no ottewottlrl hat'e reacl. [Iie never would have been able to pick out anclhighlight vord,r thot.feel sonrcthing inside rather than thinking ahoutil .so ntttch ohou! i/...'" (1,\-l)

Thc participant in {hc CVB u'Irc offcrcd this quotc idcntifics thatacslhctic practicc intcncutions gcls lo thc hcarl of thc nmftcr andallo'rvs thc curotional sidc of organizrlional lifc lo crncrgc through thciluagcs that arc crcatcd zurd lhc rc:lsolls that thcv arc dra\\:n.Exprcssion of curolions" an ou(corne of acslhctic pructicc. has lodistiuct advzurtages: it creates positive idfecl. arrd crea{.es a lneclnnislrfor establishing priorities. Positive affect is associated with flre notionof interest and fun (Isen, 2000) as \Irell as dfi,ergent ard creativethought (Frederickson" 1998). Nussbaum (2001) talks of emotionslnving a focus. Thel' have an intentional meaning that crcates the lva1,the ob-ject is seen and creates value around it. Pinker (L997) adds thatenotions tell us horv to prioritize because emotions are themechanisms tlut set tlrc brain's highest goals. Therefore, emotions areinformation about u,hat is irnportant. Aesthetic practice is a valuabletool for accessing the expression of emotion, as afi is a mechalism toelcourage such a response. Emotions force us to connit to one goalover alrother. Inragine that your child has been injured at the sametirne your boss calls your lnme" Your emotional response to thesestimuli immediately sets your priorities (Pinker, 1997). A number ofkey images appeared in tlre CVB's drarving r.vhich articulated theirpurpose and the emotional needs behind those purposes, includingfinancial needs, relationship/connection needs, and the need to feelpart of an organization that contributes to tlre good in the world.

Articulation of valuesParticipalts in the CVB intervention drew those things that

mattered to them in their future vision of the organization and rvhatthe CVB should be about in the future. Values are clearly identifiablethrough culture. Stories. music, dance, r'isnal art. and otherorganizatiorurl artifacts arc syrnbolic flonns processed through culturc.Valucs. likc crnotions" becornc afticulatcd tlrrough artistic cxpression.81' analyzing thc mcaning bchind an organizational ob-ject or a(ifacl,an organizzrlion's assuurpiions and valucs bccourc apparcn{. andidcntitiable. Acsthctic practicc is a ncans to create an organizational

AESTHETIC PRACTICE: .ARTISTIC EXPRESSII,

artifact and give voice to the organ:;.,..- I

symbol togethcr lvith the value it repres-..,-i : -aesthetic practicc. Arliculating lalu:s ',' . -foundational rvay to being to undenrli:.: .r-intirnately connected to those things u il::. : :,beings.

Facilitating thc creation shared vision"....witlt eaclt team ntembers inpur. ::

process that became exciting as it pro_.,;, ;ltacl so much irt cot7uttott." (It/2-1)

"Ifelt that there v,ere a lot of great icie:: ''

in our grottp that v,ere shared to make e -

So it was kind of lilre, 'we're all thinkiit.: ;. ,"

it kind of dffirently' (IS-l)

The participants quoted above fron .

e-rercise rnan,el at horv the intencrrti:-rcorunonalities that each of thcm slurre r-l'i -- -direction of the C\8. Facilitating the ;r;.final ontcorlrc of aesthetic practice. Org',:-entities and thuslv all face the same qu::. :

the satne direclion at the same time'l Ai,s.., :shared r.ision. Creatine a vision n itlun or= -

neu' paradigms rvithout a painful aa:process. It is proposed that orgaffzauol: :going before they change. A method to

=,practice.

The process

Aestlretic practice is powerful becaus- .

antrcipatory irnagery to help participants l,:the future. By collectively drau'ing c-operating in any given sihration ard :.participants are collectively gaining deep;:actively engaging the problem and .::: .. :metaphorical way. The process of i:. :comparison is critical to a successful c-.:understanding tluough the use of aesrite-r:: :

1ESTHETIC PRACTiCE: ARTISTIC EXPRESSiON TO TR.ANSFORM ORGANIZAT1ONS 77

artifact and give voice to the organization's values. Brining tlres1'mbol together with the value it represents is an important aspcct ofaesthetic practice. Articulating values rvithin organizations is afoundational wa)' to being to understand hou' to rvork. Values areintimately' conlected to tlose things r.r'hich create emotions in hunanbeings.

Facilitating the creation sharcd vision"....with each tearn members input, it was like a building block

process that became exciting as it progressed. It atnazecl me that wehad so mttch in common." (W2-l)

"Ifelt that there were a lot ofgreat ideasfrom each and every persotlin our group that were shared to make a common vision." (WI-l)

So it was kind of like, 'we're all thinking similar things, but presentingit kind of dffirently' (IS-l)

The participants quoted above frorn the CVB aesthelic practiceexercise rnan'el at ho$'the intenention helped thern to see thecornrnonalities tlnt each of them share about the vision and the futurcdirection of the CVB. Facilitating the creation of shared I'ision is thefinll outcome of aesthetic practice. Organizations are ir.rterdependententitics and thusl-r' all face the same question: Ho*, do rve all nror,e inthe sanre direction at the sarne time'/ Ansrver: Tluough l.hc creation ofshared vision. Creating a vision within organizations helps to move tonew paradigrns without a painful and extended disconfirmationprocess. It is proposed that organizations need to see wlrere tlrey aregoing before flrey change. A method to give them sight is aestheticpractice.

The process

Aestlretic practice is por.verful because it allorvs the use of positiveanticipatory imagery to help participants heliotropically rnove towardsthe future. By collectively drawing out the rnultiple influencesoperating in any given situation and creating symbols of thenlparticipants are collectively gaining deeper knowledge and insight byactively engaging the problem and coming to know it in ametaphorical \.vay. The process of interaction/engagement andcomparison is critical to a successful outcome. Wlren refining ourunderstanding tlrough the use of aesthetic practice we are examining

78 DEBR,\ ORR

the details and nuances of our probleln. We are relating to the problemin an integrated u'a1'-through our emotions: lrorv the problem nukesus feel, tluough our senses: hou' is tlrc problern expcriencedempirically; tluough the logical mind-how tlre elements of theproblem are related, tluough our inductive mind: u,hat makes sense tous.

Thc acsthclic practicc intcn'cnlion itsclf is charactcriz.cd bl scvcnstcps: Idcntifv" Outcomc. Appl-V. Drau'. E.rtrapola{c. Add nnd Rc-Appl.v. Figurc 3 prorridcs a diagraur of thc proccss of acsthcticpraclicc.

Idcntil.r': Thc First Stcp is to idcntil-v thc organizational issuc. proccssor problcur. The idcntification of a problcru or dcsirc to grotv isitnportan[ because i{. focuses attenlion on tlrc queslion of "u'hal- is thesituation?" Just as when a physician diagnoses a patient varioussymptoms must be considered and addressed.

Outcorne: The Second Step is to decide rvhat the desired outcome is,such as a new mission statrement or business reorganization. Theoutcome may be less action oriented, such as u'ishing to understandtlrc problem better or being able to see the situation more clearly. Anorganization's outcome is a transfonnation to something re-invigorated. ne\v or transformed.

Appll': The Third Step is to apply a metaphor to the situation rvhichaddresses tlre desired outcome. It is often helpful to identifu a fewcharacteristics of tlre de si red end state o r problem under co nsideratiorland use those more abstracted characteristics to create and apply ametaphor. It is critically irnportant that participants have on'nershipover r,r'hat metaphor is drau,n"

Drarv: The Fourth Step is to actually draw the metaphor. While thisstep may not seem as cognitively based as the otlrers, it is importantthat the image be on paper and accessible to all. The physicat creationof the objec! regardless of the skill with which it is executed, enablesthe brain to think in a different way.

Extnpolate: The Filth Step is to cxtcnd and rcfinc thc lr-rclaplror u,ithinput lrom the group. Qucstions about what thc drau,ing rcprcscnlsand lrnking addilions to it are ar.rd rvhzrt those addilions rcprcscn{ aretltc bnsis for slmrcd understanding. It is not ncccsszln' to kcep alldiscnssion ccntered on the mehphor. Easv tmnsitior-s bcl,r.vcen

AESTHETIC PR\CTICE: ARTIST]C EXPR,ESSi{,,\ T. T.-.. .. ..

drarvings altd u'hat the5' represent Ere er.-orr:r;,-create an afiificial division of thought ben-.:-.:. -problern soh.ing and the problern itself

Add: The Sixth Step is to add these refirr:,.:',-.the original dralving. Agaiq the pirl'sical ::=.. :

important in order to create learning \1,::process, u'hen p:rinters talk about palntln_r :: -,

paint, the results are different.

Re-Apply: The Seventh Step is to r;--r.. . ,

organizational realities and talk about \\ lu: .. -,,:,it is important for any dirrision betn een tlti .:-,; .:to be reconciled. Each aspect of tl.re dran ir._: -.,,: -tlrc continuing refrain, "what does this rnce:. .: ..:An examination of horv tlre spacing t':t,':-::-dmwing affects its meaning, and tlre sel3::.-:.explored.

Figultr 3 - The Process of -r,c.

Re-applymetaphor lo

the

organtailon

Addretnements

and€xtensions

ffiw@*"n-n

refino lhometaphor

A;..;ix&ffi'-..]k"

"qry;e :ffif": {

I

AESTHETICPRACTICE: ARTISTICEXPRESSIONTOTIANSFORN,I ORGANIZATTONS'79

drarvings and rdrat they represent are encouraged: Tlrere is no need tocreate an artificial division of thought behveen tlre creative aspect ofproblen solving and the problern itself.

Add. The Sixth Step is to add these refinements and extensiors intothe original drawing. AgairL the plrysical creation of the imagery isimportant in order to create learning. Much like in the creativeprocess, when painters talk about painting or rvhen painten actuallypaint, the results are different.

Re-Apnly: The Seventh Step is to re-apply this metaphor toorganizational realities and talk about what it means for change. Hereit is important for any division between the metaphor and the drarvingto be reconciled. Each aspect of the drawing should be discussed rviththe continuing refrain, "what does this mean in light of our situ.ation?"An examination of how the spacing betu'een the objects in thedrawing affects its meaning, and the selections of colors should beexplored.

Figure 3 - The Process of Aesthetic Practice

*;{,:5rrw*lF:"

w"*'^''"Add

ret-nements

extensions

wilKKw

EXLenO andrefinc themetaDhor

%ffi*#

wlrat is thedesired

outcome?

^rr,r@meBpnor

80 DpeRqOnn

Cooperrider (2001, p. 47) asks if it "...is possible to create ouro*,n future-determining imagery? Is it possible to develop ourmetacognitive capaciry and thereby choose between positive andnegative ways of corstruing the r.vorld? ...Is it possible to develop tlreaffirmative competence of large collectives...affinning a positivefuture together?" Aesthetic practice allows organizations to share theconstructive and productive images rvithin the collectirre minds oflhcir associatcs. ileratc frour lhc ntctaphors dcr,clopcd. rcfinc lhc idcascarcfull.y and imbuc lhcln u'ilh dccpcr rncaning. Such collcclivcsluring and action is possiblc ,r,r'ilh l,hc usc oI acsthclic praclicc.

Dovc.v proposcs lhal one lcanrs bl doing (1934): Ha-vncs (l97tt)rvould countcr that lcaming occurs u,hcn rnc{aphor is applicd to a

sccnario and analogicallv aligncd u'ith :r siurilar or prcviouscxpcricncc. Acslhctic practicc allou's for both o[ thcsc options lo bcexplored at once. The sensory value of physical rnanipultrtion ofobjects is appreciated while creating a fraruework of sharedunderstanding through analogically aligning previor-rs experience witha ner.r' circumstance. RationaliS in organizations is bounded by ourcollective sclremata. In order to develop a metaplror for anorganization solution, a few key characteristics of a desired end stateare identified. Those characteristics are transferred to a similar, buturLrelated, object or ide4 then iterated and refined to produce a largercognitive map from which to u'od<. Our cognitive map is enlarged byemploying the notion of metaphor and engaging in a process ofanalogical alignment.

There is evidence that art, and the creation of art, inpacts bothbiological and psychological systems of human beings. We aredesigned, as hurnan beings, to be dissatisfied s'ith non-descript,featureless scenery and fascinated by colorful, pattemed ones(Shepard, 1990; Damasio, 1999. 'Mind and body are indeed a unifiedinterdependent systenr" (Cooperrider, 2001, p. 35). Using the head,heart and hands of participants in actively creating tlre future throughart - a singularly human activity - is a rvay to maximize our natureand together create a more humady significant future.

AESTHETIC PRA.CTICE: ARTISTIC EXPRESSIC,N T' T..'] ::

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RESEARCH METHOAND EPISTEMOIJfi

Sommaire

GosrroN DES RESSoURCES ITUMAINES ET DES RELATIoNSPROFESSTONNELLES

Richard DOOL Change Fatigueru ou l'dpuisementli6s aux fluctuations des corditionsde travail : les repercussions de laperte de vitalit6 sur le bien-€tre autravail 2I

Appnocnr GLoBALE DE LtEIlrREpRIsE

Cristina CRESPO SOLERJuan Manuel DIEZOREJASArturo GINER FILLOLViCCNtC RIPOLL FELIU

Les rapports de ddveloppementdurable en tant qu'outil d'amd-lioration de la communication darnle systdme portuaire espagnol " ". .. "

Debra ORR

RobertP. GEPHART, Jr.

Erik S. RASMUSSENJacob Hoj JORGENSENRend ChesterGODUSCHEITCarstenBERGENHOLTZ

THEoRIB DES ORGANISATIONS

Pratique esthdtique : le pouvoirdeI'expression artistique pou rtransformer les organisations.........

METHoDoLocIE ET Eprsrf uor-ocrn

Proposition de mdthode ethnos-latistique

Innovatio& ddveloppement pro-duit et nouveaux moddles de

stratdgie dans les rdseaux.

Comment transformer les 6tudes

de cas en thdorie valide etoperationnelle............. ".....

43

63

85

t03

Sumario

GnsrI6N DE RECURsos HUMANos y cnstroN DE RELACToNESPROFESIONALES Y LABORALES

Richard DOOL

Cristina CRESPO SOLERJuan Manuel DLEZOREJASArturo GINER FILLOLVicente RIPOLL FELIU

Change Fatigueru: eldel cambio debilitantesatisfacci6n laboral

ENroqun cr-oBAL DE LA EN'rpRDsA

impactoen la

2l

Los informes de desarrollosostenido. herramientas demejoramienlo de la comuni-caci6n en el sistema porh-rarioespafrol.

Tponi,r DE LAs oRcANIZACToNES

4-t

o-)

85

103

Debra ORR

Robert P. GEPHART, Jr.

Erik S. RASMUSSENJacob Hoj JORGENSENRend ClresterGODUSCHEITCarsten BERGENHOLTZ

METoDos DE TNvESTTcACI6N y r,prstBuor,oci'r.

La pnictica estdtica corno poderde la erprcsion arlistica para

trarslonrur las orp.anizaciones....

Propuesta etno estadistica.... . ".

Innovaci6n, desarrollo producto,y nuevos modelos de estrategiaen las redes. ? C6mo transformarlos estudios de caso en teoriasvalidas y operativas?