January 19, 2012
Act in order to think
"Action, tempered by reflection, is the critical component in recovering from cosmology episodes. Once you start to act, you can flesh out your interpretations and rework them. But it's the action itself that gets you moving again. That's why I advise leaders to leap in order to look, or to leap while looking. There's a beautiful example of this: Several years ago, a platoon of Hungarian soldiers got lost in the Alps. One of the soldiers found a map in his pocket, and the troops used it to get out safely. Subsequently, however, the soldiers discovered that the map they had used was, in fact, a drawing of another mountain range, the Pyrenees. I just love that story, because it illustrates that when you're confused, almost any old strategic plan can help you discover what's going on and what should be done next. In crises especially, leaders have to act in order to think - and not the other way around."
Karl Weick
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3:39 PM
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January 15, 2012
An arbitrary mechanism of power
"If the old capitalism ideally involved an entrepreneur who invested (his own or borrowed) money into production that he organised and ran and then reaped the profit, a new ideal type is emerging today: no longer the entrepreneur who owns his company, but the expert manager (or a managerial board presided over by a CEO) who runs a company owned by banks (also run by managers who don't own the bank) or dispersed investors. In this new ideal type of capitalism, the old bourgeoisie, rendered non-functional, is refunctionalised as salaried management: the new bourgeoisie gets wages, and even if they own part of their company, they earn stocks as part of their remuneration for their work ('bonuses' for their 'success').
This new bourgeoisie still appropriates surplus value, but in the (mystified) form of what has been called 'surplus wage': they are paid rather more than the proletarian 'minimum wage' (an often mythic point of reference whose only real example in today's global economy is the wage of a sweatshop worker in China or Indonesia), and it is this distinction from common proletarians which determines their status. The bourgeoisie in the classic sense thus tends to disappear: capitalists reappear as a subset of salaried workers, as managers who are qualified to earn more by virtue of their competence (which is why pseudo-scientific 'evaluation' is crucial: it legitimises disparities in earnings). Far from being limited to managers, the category of workers earning a surplus wage extends to all sorts of experts, administrators, public servants, doctors, lawyers, journalists, intellectuals and artists. The surplus they get takes two forms: more money (for managers etc), but also less work and more free time (for - some - intellectuals, but also for state administrators etc).
The evaluative procedure that qualifies some workers to receive a surplus wage is an arbitrary mechanism of power and ideology, with no serious link to actual competence; the surplus wage exists not for economic but for political reasons: to maintain a 'middle class' for the purpose of social stability. The arbitrariness of social hierarchy is not a mistake, but the whole point, with the arbitrariness of evaluation playing an analogous role to the arbitrariness of market success...."
Slavoj Žižek
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7:39 PM
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January 6, 2012
Think of our humanity as a privilege
"People are frightened of themselves. It's like Freud saying that the best thing is to have no sensation at all, as if we're supposed to live painlessly and unconsciously in the world. I have a much different view. The ancients are right: the dear old human experience is a singular, difficult, shadowed, brilliant experience that does not resolve into being comfortable in the world. The valley of the shadow is part of that, and you are depriving yourself if you do not experience what humankind has experienced, including doubt and sorrow. We experience pain and difficulty as failure instead of saying, I will pass through this, everyone I have ever admired has passed through this, music has come out of this, literature has come out of it. We should think of our humanity as a privilege."
Marilynne Robinson
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12:27 AM
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January 2, 2012
Virtuous Work
"As we might expect, a workable approach to remaking Paradise turns clever certainties about the nature of constructive work upside down. Paradise gardeners are reknown for their "zero-work ethic" - Mollison's "reclining designer." That's because we are elementally about co-creating landscapes that are attuned to Nature's patterns and rhythms: self-sustaining, edible landscapes that require an absolute minimum of intervention on the part of the Gardener. In other words, no toil: "Consider the lilies of the field, how they grow: they toil not, neither do they spin." The yoke is easy.
Of course, taking it easy hardly fits in with conventional notions of virtue, but then again, our civilization's valuation of the nature of virtuous work may well be rotten to its core. As Terence McKenna puts it: "Now you see, the current theory of problem solving is that we must solve all our problems with solutions that make a buck. Well, it just may not be possible to solve the problems of the 20th century and make a buck at the same time. But if you're willing to put aside that notion, then the human future appears endlessly bright." Or, to paraphrase the words of the Christos, Mammon sits fundamentally at odds with the irresistible march of evolution. That, in a nutshell, is the stark truth underpinning a collaborative return to the Garden, perhaps the truest attunement to the Great Work we are capable of. "Work, motion, life," says William Bryant Logan, "All rise from the dirt.""
Nick Routledge
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3:03 PM
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December 31, 2011
Dignifying surrenderers
"We have to actually lose the idea of intelligent design, because that's actually what that is. The top-down theory is the same as intelligent design. And we have to actually stop thinking like that and start understanding that complexity can arise in another way and variety and intelligence and so on. So my own response to this has been, as an artist, to start to think of my work, too, as a form of gardening. So about 20 years ago I came up with this idea, this term, 'generative music,' which is a general term I use to cover not only the stuff that I do, but the kind of stuff that Reich is doing, and Terry Riley and lots and lots of other composers have been doing.
And essentially the idea there is that one is making a kind of music in the way that one might make a garden. One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life. And that life isn't necessarily exactly what you'd envisaged for them. It's characteristic of the kind of work that I do that I'm really not aware of how the final result is going to look or sound. So in fact, I'm deliberately constructing systems that will put me in the same position as any other member of the audience. I want to be surprised by it as well. And indeed, I often am.
What this means, really, is a rethinking of one's own position as a creator. You stop thinking of yourself as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included. So there's something in the notes to this thing that says something about the difference between order and disorder. It's in the preface to the little catalog we have. Which I take issue with, actually, because I think it isn't the difference between order and disorder, it's the difference between one understanding of order and how it comes into being, and a newer understanding of how order comes into being.
And another way I can translate that is to say it's a repositioning of ourselves on the control/surrender spectrum. I'll talk briefly about that, then I'll shut up. We're used to the idea, coming from the industrial and very intelligent post-Enlightenment history that we have, we're used to the idea that the great triumph of humans is their ability to control. And indeed, that must be the case, to some extent.
What we're not so used to is the idea that another great gift we have is the talent to surrender and to cooperate. Cooperation and surrender are actually parts of the same skill. To be able to surrender is to be able to know when to stop trying to control. And to know when to go with things, to be taken along by them. And that's a skill that we actually have to start relearning. Our hubris about our success in terms of being controllers has made us overlook that side of our abilities. So we're so used to dignifying controllers that we forget to dignify surrenderers."
Brian Eno
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2:23 PM
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December 29, 2011