I’ve spent my adult career working with the way in which people symbolize their understandings of themselves and their organizations in words, images, metaphors, and mental models. My western mind was schooled in the idea that being clear and cogent is a supreme value. For years I assumed my primary job is to help people make sense out of complexity with my visual facilitation and information design. parmenides

A Brief Look at Reality

 

Kingsley is a scholar of Greek language. His book is a brilliant reinterpretation of poems by Parmenides and Empedocles, two men who have been credited with some of the first articulations of the value of modern rationalism. However, Kingsley believes interpreters of these works got them wrong, amplifying elements that supported a rationalist argument and subordinating elements that presented other, more radical ideas.

According to Kingsley, Parmenides’ insights were actually rooted in mysticism and practices of prophet healers in an iatromantis tradition. They practiced “incubation,” entering dark caves and enclosed rooms for days, until their sense relented, and they could receive direct transmissions from the goddesses, in their case the Goddess of the Underworld Persephone and the Goddess of the Outer world, Aphrodite. The entire first part of Parmenides’ seminal poem describes being taken to the underworld by daughters of the Sun, pulled in a chariot propelled by “longing,” a Greek work that meant purpose or passion. Upon meeting the Goddess, Parmenides is given instructions or “laws” and told to bring them back as stated to his people. This kind of transmission is what the prophet/healers in Velia did, and the communities were organized around these transmitted laws. Nothing could be further from trusting in rational thinking. But subsequent scholarly interpretations projected on Parmenides the idea that he, of course, must have worked all this out in his own mind, and not very well at that by their standards of poetry.

Kingsley also argues that the scholars who interpreted Parmenides had no understanding of the practices of magic and mystic transmission as understood by the iatromantis people, in which coming at important issues sideways and full of trickery was central. Their primary Goddesses were apparently the same way, and very accustomed to sharing their deepest truths stated as contraries, and riddles, with things stated as truths most likely not being true.

This kind of pretzeled “logic” challenged my western mind, but Kingsley’s writing hit a receptive channel for me, especially when he continues to explore how Empedocles insisted that what he called “Strife” not “Love” is the doorway to awakening. He appeals to “mad strife” as an essential quality to embrace for the awakened mind.  Oh my, I thought, now I am in trouble.

Aphrodite, the goddess of love, was seen as the binding, connecting force of our awake world. Is not Love of superior value, just like clarity? It is the power of love to seduce and attract and bind things together. Love blinds us and needs Strife to break the trance and bring us back to appreciation of what is going on behind our stories, dreams, and visions. We need the goddess of the underworld, Persephone as well. This “mad strife” is not the madness of a persons whose neurology and physiology are, but the divine madness of someone who realizes that the trance of our ordinary lives is a sham, and no longer “believes.” It is the crack in our certainty and knowing that lets in the divine awareness.

Might you suspect that my reading this book conjunct with my Vision Quest might have some impact on my receptivity to Kingsley’s line of inquiry? And might you suspect that I have been experiencing strife with the pandemic, Ukraine, and radical shifts in organizational practices around planning and meetings, the heart of The Grove’s work. Could it be that my deeper knowing is encouraging me to reach out to this strife and embrace disruption and unclarity as doorways to insight?

davidatifvp2019Is Visualization Both Integrative and Disruptive?

One of the first shoots of insight to spring up from reading Kingsley is a reflection on the extent to which my visual facilitation practice is reflecting both Love and Strife. The Love part is easiest. People love well done graphic capture, for the most part. It is seductive to look at the way that visualization can help make sense of things, reduce confusion, and help people see their relationship to the larger whole. I and many others are writing many books plying this river of perception. But is this all that is happening?

I know that visualizing people’s spoken words in written text and image is affirming and appreciative, but at the same time experientially disruptive in ways that aren’t always apparent. Not only are the characterizations reflections of the recorder’s, not the speaker’s filters of perception, but they are also VERY partial. At my fastest I can only get 1/8 of the words as most, and of course only a fraction of the imagined imagery.

But this practice is also disruptive in a more subtle way. Looking at anything from a whole systems perspective, which is what a roomful of visualization allows, is not the usual way people make sense of things. Most people perceive their organizations and work from the point of view of their specific jobs and interests, and within narratives that become polished into certainties by repetition. Rarely do people get to “see the whole.” And of course, the room full of graphics isn’t the whole, but merely a pointer at the greater complexity. If all stakeholders and external drivers in any situation are accounted one would be facing a real mystery about what causes what. But just the attempt to take a whole systems view is disturbing. It suggests that the arc of our internal narrative is limited and perhaps even wrong. People’s nervous systems resist this sort of understanding.

When I was developing visual practice during my years with the Coro Center for Public Affairs, I facilitated a business program for managers to understand what was going on in the city. We would take one specific decision, like the decision of the Board of Permit Appeals in San Francisco to approve the Transamerica Pyramid, then outside the Zone for tall buildings and close to Telegraph Hills more cozy neighborhoods. We interviewed some 48 people involved, usually in their offices, and kept pursuing the same question—why was it approved? Trust me, we could not arrive at one story, or even why this very uneconomical design was chosen. We conducted this exercise around 3-4 other key decisions and had similar experiences. Clear narratives were consistently incomplete.

Then I began to think about the extent to which I would using visioning to lure people into a sense of connection and mutuality and move past the strife and disruptions. How many of my clients were using nice pictures to create an illusion of coherence and ignoring real problems with their people? How often was I listening only to Aphrodite?

My partner Gisela Wendling’s recent study of her Liminal Pathways Change Model and liminality has drawn me into looking at the value of the confusing, in-between times when something truly new can enter, what she calls “the crucible.” That inquiry is another post but helped amplify what Kingsley was saying.

liminal-path-model12notextI’m doing more of this with colleagues. Recently two of my friends and GLEN colleagues, Alan Briskin, and Mary Gelinas, have been writing a book about Three Field Awareness. They are working to integrate research in the areas of personal, social, and noetic fields, and of course interleaving their own long practices. Mary is deeply engaged in somatic work, taking the language and deep patterns of our embodied knowing seriously. Alan has been studying collective wisdom for years. These matters defy easy representation. I have been working with them to see if there are some ways to visualize these concepts without falling into the trap of being inappropriately “clear.”

Mary, Alan and I are all experienced collaborators and know what when we hit a rough spot in our thinking we don’t dig into our individual “rightness,” but simply bring up what arises spontaneously, waiting until the bells chime in our inner minds. The results are, in our experience quite remarkable. It is as though we are being guided. What appears are often simple images and associations, and often metaphors. In one session we wondered how we could possibly visualize everyone having personal fields generated by our bodies, minds, and individual senses and at the same time being immersed in social fields that have intensity and flow and shaping concepts about how to work and be? Somewhere in our improvisational talk the image of starlings emerged. We immediately went and searched on-line and before we knew it, we were looking at dozens of pictures of the incredible formations starlings create in the “murmerations.” We got shivers. The idea will probably survive the editors.

Large flock of starlings in the blue sky

Can working with imagery in a deeper way happen more in groups? How do we practitioners guide people to beyond clarity to movement and emergence? I know there is something about hand created drawing that encourages this kind of accidental wisdom. And are visioning sessions really mumerations? Is there higher consciousness? Can we accept what comes through these portals?

Is the Universe Conscious?

A third seed is taking root. It arises from Kingsley’s exploration of what the word “longing” meant to the Greeks. It seems to imply an inner orientation of what some might call the soul. He wrote that to the Greeks it also meant purpose.

Arthur M. Young, whose Theory of Process has been my operating system for years, once said he wished he had called it a Theory of Purpose but shied away from that because he wanted to bridge to western science, which was more open to understanding something more tangible. As a physicist he was fascinated that the quantum theorists, who began to see light as the most fundamental of all elements in the physical universe, called photons a “quantum of action”—something whose spin held potential that could be realized as it took on direction as a fundamental force—an electron or proton. He suspected that these scientists had quietly opened the door mystics had longed entered. Light, it seems, does not have boundary, weight, and length. Some students of bioluminescence suspect light might be the way cells communicate, quite beyond chemical interactions. Others appreciate that the principles of “non-locality” may mean at this level all things are much more interconnected that we have any appreciation for.

What if our rational language and crisp, visually “clear” graphics are actually barriers to deeper forms of communication?

One of my visual consulting colleagues, Vivian Wright, was a very successful internal guide at Hewlett Packard during the days when the HP Way was alive with founder energy. She said that her work was 10% design and 90% prayer. I asked her what she meant. She says she would set up group processes, and then sit aside and hold the whole group in her inner imagination, seeing them emerging and creating and aligning. Was she holding purpose at the center of her work and using her inner imagery to affect the field?

As a minister’s son I was taught to pray for others, holding their image in my mind. I am reluctant to use that word now in secular settings but suspect that simply opening to and trusting the light and holding images without knowing why or how, may be a form of prayer. Is it possible that this is the gift of disruption, letting the light of purpose come through? Can we learn to see the light in others, and imagine that they too, whether they know it or now, are part of a larger field of consciousness.

I know the practice with blogging is to be short and sweet, and have three or four takeaways, but I’d rather show up in my present condition and share what is emerging, rough as these thoughts are. I let myself get “whacked” by Peter Kingsley. I think it is nice to have that happen at an age when I’m tempted to think I know things.

 

 

As the pandemic eases and world crises erupts over Ukraine, I’m finding myself embracing a real turn in my creative life. Beside writing poetry, I’m beginning to explore video as a medium of sharing. I’m returning again and again to the feeling that it is more important than ever to share my experiences in facilitation and change. This urge, which feels like a “calling” is leading me to turn my attention away from serving the outcomes others set for me as a consultant, to following my own calling and expressing it through our Global Learning & Exchange Network (the GLEN). Its purpose of supporting a network of change agents and facilitators in become even more capable of guiding collaborative processes seems more important than ever. We simply must learn how to work together to face the enormous problems of these times.

This post is to share a new video I created at The Grove during what we are calling a Grove Dojo session. I am beginning to do this in person at The Grove offices in the Presidio of San Francisco on a regular basis and welcome persons who might be interested to join in. They are held on Friday afternoons. (contact me if you are interested). Trent Wakenight, our new consultant is helping with the shooting and production. Krista Bremer, a person I will introduce soon as a new Program Director at the GLEN, helped support this particular expression.

I’m posting the Use of Self video here for you to enjoy, and to encourage myself to do more. It’s only 10 minutes long and is part of a series of “legacy videos” I’m creating about the many insights, principles and practices that have informed my visual facilitation work over the 45 years I have been practicing.

In his book American Soul, philosopher Jacob Needleman wrote, “The art form of the future is the group. The intelligence and benevolence we need can only come from the group, from associations of men and women seeking to struggle against the impulses of illusion, egoism and fear.” This quote animated Alan Briskin’s exploration of the headwaters of this idea at the first Leading as Sacred Practice (LASP) gathering in 2016 at Holger Scholz’s Beuerhof Retreat Farm in the Vulkan Eifle region of Germany. To support the dialogue that resulted, we co-created this graphic of thought leaders we knew resonated with this idea.

groupasartform

The four of us guiding Leading as Sacred Practice (Gisela Wendling, Alan, Holger and I) had begun calling ourselves a facilitation “Ensemble.” We shared a deep interest in collaboration and supporting a mindset that values the whole human being— spiritual, emotional, mental, and physical— AND avoiding religiosity, ideology, and blind faith.

This first retreat sparked a shift in our work, and ignited a path of co-discovery. We have been meeting and working as an ensemble ever since through two more gatherings in 2017 at IONs Earthrise Retreat Center in Petaluma, and then in 2018 back at the Beuerhof.

We decided to take a gap year in 2019, and then for 2020 planned a larger conference. But COVID appeared and we delayed again. The pandemic pushed us to create a virtual version to continue the work, and the publishing of some of our findings so far in our LASP eBook. (We are giving this away for free in the description of our series of six LASP Online Exchanges starting April 23). Our learning focuses on six “ways” we have found to lead as sacred practice.

What is an Ensemble?

I was describing our ensemble experience to a close friend, Joe Ruffato, a musician and member of a Medicine Community that I am also a member of. I could explain the “ensemble idea” easily since the medicine community is very collaborative and Joe understands what this means musically. An ensemble is a group of musicians who play together. What is not embodied in the formal definition is the meaning that is understood by professional musicians. Joe told me a story that made the point.

“When I produced my first CD I worked with three professional musicians who brought piano, base, and drums to my guitar playing and singing of my songs. We worked through several studio sessions and produced a draft version. I then had a chance to talk to our producer about it and asked him what he thought. ‘Do you really want to know,” the man replied. ‘Yes,’ I said. “He then told me that I was over strumming and doing some other things that didn’t completely balance, “ Joe said. “I came away and put the CD on hold. So I practiced and then after some months came back with a completely up-leveled performance.”

Joe went on to describe what he learned from the three musicians he had worked with. They all were very skilled in what they did, and all shared a sensitivity to the “ensemble” level of play. “They never filled the space to the detriment of the other musical voices,” Joe said. “I realized that’s what it means to be a pro.”

And I realized in Joe’s story this is what is means to be a good ensemble—to never fill the space in a way that works to detriment of another player. This means honoring the rotation of the spotlight in jazz. It means not over playing. It means listening to the whole.

Ensemble as An Artform for the Future

Having spent my adult life facilitating group process, I realized that the Ensemble idea we have used to guide our Leading as Sacred Practice work, might also be a form that could be replicated and even celebrated professionally in other group work settings.

More and more it seems that one of the shifts that we need to make as we come out of shelter-at-home and move into other escalating global issues like global warming, is to open to more imaginative “we” forms of working together. No single person is expert enough to respond to the systemic challenges we face. No solo player can lead the transformation changes necessary to work with them. Collaborative networks, action learning teams, and yes “ensembles” are needed to allow pooling of knowledge and learning as we move forward.

Groups can be the art form of the future.

Join us for the Leading as Sacred Practice Online Exchange Series. April 23, 2021, and experience one.

Gisela Wendling, my co-author, and I recently had an interesting time experiencing the power of “frames” at the Fielding Graduate School Winter Session in Santa Barbara. (She is an alumni of their Ph.D. program). My attention to this subject was fueled by three experiences; 1) Our holding a small seminar on our new book, Visual Consulting (cover shown on the left here); 2) Gisela’s being asked to share this book as a Fielding alum and experiencing various reactions to the cover. as in “looks like a comic book.”3) My attending a session specifically about “frames” led by one of the founders of Fielding, Keith Melville, and Gisela’s thesis advisor Fred Steier.

twocoversv2

Coming home I wondered what would have happened if the cover had looked like the one above on the right, providing a completely different “frame” for the contents inside our book, using only a color gradient to suggest change. It points at different aspects than the cover on the left, perhaps signaling some subtlety in thinking and awareness, something we are hoping to advance with the book in addition to practical tools. I’ll return to this thought.

We arrived in Santa Barbara for the Winter Session very excited by Katrina Rogers, Fielding’s president’s reaction to having read Visual Consulting in advance. She wrote:

Thank you so much for the book, “Visual Consulting.”  I read it over the weekend and it’s a tour de force for this field!  What a pleasure to read—good use of metaphor with “stringing the beads” and it was great to see some examples of projects that I am a little familiar with—such as the UC Merced work. Good of you to include Arthur Young’s work as an appendix.  Although this is a book for visual facilitators, I think a good audience would be any consultants. 

Gisela and I wrote this book to communicate directly to two audiences and Katrina clearly saw that. One was visual facilitators and practitioners who are moving toward being more sophisticated about how change really works and wanting to work on longer projects as consultants. The second were consultants of any sort working on change, to understand how shared mental models and metaphors, based on solid theory, could open windows of insight on how to get better results from collaborative processes. Our author challenge was framing this work so both audiences would know it was meant for them.

Simple Frames/ Simple Tools

In working with our editor over the years, we kept hearing that people respond to tools and respond to simple, concrete steps forward, and to keep these things front and center in our writing. We did that. His orientation was supported by my own bias that busy people, and most younger people, are becoming more and more used to getting information in magazine style formats that tightly integrate word and image. These readers want things they can do right away that get results. Visual language, as Bob Horn has abundantly argued in his book by that title, is the “tight integration of word and image” and a relatively new development in the 20th and 21st centuries. It’s becoming the lingua franca of the younger generation.

As a result, as the book cover designer, I biased toward this tendency and created something that would quickly and visually point at the kinds of tools that get predictable and useful results—a bold steps vision, a stakeholder map, and a graphic gameplan.

However, while change may begin with small steps and early wins, truly transformational change takes time and can be very complex. So as powerful as graphic templates are for facilitating strategy and change and getting started, Gisela and I are experiencing that perhaps an even more powerful contribution of our collaboration is having people learn Gisela’s Liminal Pathways Model that illustrates the archetypal process of change as experienced by and responded to by indigenous people throughout history. It very persuasively illustrates the nature of the “in-between” or liminal time in change—something that is systematically short changed in our “hurry-up” times, to the detriment of real change. The middle chapters of the book explain this model, and show how, in the Seven Challenges of Change Framework, this archetypal pattern repeats in longer change processes. It is the contribution we are most excited by and were intent on sharing at Fielding. We did in a small face-to-face seminar and it was indeed well received.

Book Signing

Later, following Fielding’s invitation to be available for book signing, Gisela put the book out on a table and engaged people walking by. In that context, however, the cover seemed a bit out of place. Academic works do not advertise themselves with such an audacious “frame.” The norm is to be subtler. We did not get reactions like Katrina’s from just having the book out.

What are Frames?

When I saw that Fred Steier was leading a session on “What a Difference a Frame Makes” at the Winter Session, I had to go.  Fred is a social systems scientist whose wide ranging involvement has included working with family therapists, NASA after the Challenger catastrophe, writing books on reflexivity and editing the Journal of Cybernetics, to currently teaching design thinking among other things. This session directly fueled this post and wanting to share some thoughts about frames with you readers.

Fred told a story about Gregory Bateson, one of his mentors and an influential anthropologist and cyberneticist who first advocated the term “frames” as a concept in human communication. Bateson did some of his early work with chimpanzees and wondered how they knew when neck nipping was a signal to play and when it might be picking a fight. He began to infer that the chimps must be sending “meta-signals” that provided a context for interpreting the nipping gestures. After considerable study he decided to call these “frames”. (He describes this theory of play in his book Steps to An Ecology of Mind according to Fred).

We went on in our very interactive session to explore how symbols and metaphors provide “frames” for our thinking and trigger emotions. Some noted that George Lakoff, a cognitive scientist who has written extensively on this subject, has elaborately analyzed how the “nurturing” frames of liberals contrast with the “punishing” frames of many conservatives—are we “investing” in education or “taxing” for education for instance? Are immigrants “assets to our economy” or “potential terrorists?”

Bateson concluded that the kinds of frames he was observing were meta-signals, inherently relational, and arose from the context of an interaction. “Nipping means play” arose from the relationship. This is not the same as classifications, which are intellectual distinctions, Fred commented. This is a very complex topic, but one point I took away is that any kind of frame ends up providing a context that greatly affects how we look at and interpret things we are trying to understand, especially in relationships between authors and readers.

Frames as a Metaphor

All of our widely shared experience with picture frames is a “doorway” into understanding this idea. A gilded, elaborate frame orients us differently than a clear glass frame with no borders. Each is a meta-signal from the context of the creator, or the gallery, or the museum curator who decided that a specific picture needed this or that kind of frame. But our sense of what the frame means can vary widely depending on our personal experiences and associations—our relationship with this or that kind of frame. For some our Visual Consulting cover will signal that we see graphic books as a seriously evolving form of literature in our times—just the meta-signal they need to open it up and read further. For others it might signal that it’s probably not serious or more about entertainment and marketing.

So, can we really judge a book by its cover? Can you judge our book by its cover? Well, you can—but your interpretation will be colored by your relationship with those symbols.

What Gisela and I are hoping is that, for those of you interested in visualization and change, you will appreciate our taking an integrative approach. Visual consulting is an inner process AND an outer process. It is about awareness and “seeing,” AND about tools and engagement. Imagine it as a key to the power of the subtle visualization practices involved in framing and creating mental models. Imagine that this will help you create “containers” and “crucibles” for change and be invitations to become conscious of both context and content in the process of dialogue and conversation.  And imagine that you will also get a practical, and very “graphic” understanding of why visual facilitation tools and templates are so effective all along the way.

If you haven’t read Visual Consulting yet, please do and jump into our ongoing conversation about all these things, especially the power of frames.