Edinburgh festival.. an Open space event
Chris Weaver
chris at springbranch.us
Wed Apr 5 07:22:08 PDT 2006
phelim,
interesting indeed!
i remember chris corrigan posting a long time back about an island music
festival that also shared most of the elements of an ost meeting.
i live in a land famous for its music & arts festivals. some have "gone
corporate" and become more engineered, while some have maintained a deep
sparky spontaneity over many years. i am in dialogue with one of the latter
types of festival about using ost in the planning stages and integrating a
big agenda wall under a tent for the festival itself, with an staff-focused
and a participant-focused area.if this adventure happens, i can't wait to
see what we've learned when we debrief.
on a related large other topic, i am deeply interested in the overlap
between ost and ceremony in indigenous traditions. festival life, which
culminates on a specific piece of land for a specific period of time, has
some fascinating resonance with ceremonial space/time. a topic to explore
another time.
cheers,
chris
-----Original Message-----
From: OSLIST [mailto:OSLIST at LISTSERV.BOISESTATE.EDU]On Behalf Of Phelim
McDermott
Sent: Wednesday, April 05, 2006 8:20 AM
To: OSLIST at LISTSERV.BOISESTATE.EDU
Subject: Edinburgh festival.. an Open space event
I had a realisation...
that the reason the Edinburgh fringe festival was such a successful
event (Perhaps not anymore) was that it was created operating on open
space principles.. a group of people gathered together and convened
various shows.. in one city and it was "self organised".
Whoever turns up are the right people and often that means no one
turn up to your show. "Maybe its a great show way ahead of its time!"
The programme is one big bulletin board for which you sign up for
more than you can possibly see.
Often the show before have not struck their set so you have to be
open to whenever it starts is the right time.
The city is full of people "bumble beeing" and butterflying... and of
course the bars and coffee breaks are the real reason for going....
where the real juice of the festival happens.
Most of all the law of two feet is supported by the whole event
because people can always leave any conversation because.... "They
have a show to get to!"
Of course as the controllers...("Producers" moved in and organised it
much more) it has got less and less interesting..
just a small thought but think its of interest that open space
created the worlds biggest arts festival.
phelimx
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>From Wed Apr 5 10:36:59 2006
Message-Id: <WED.5.APR.2006.103659.0400.>
Date: Wed, 5 Apr 2006 10:36:59 -0400
Reply-To: hhowen at verizon.net
To: OSLIST <OSLIST at LISTSERV.BOISESTATE.EDU>
From: Harrison Owen <hhowen at verizon.net>
Organization: HH Owen and Co.
Subject: FW: Chaos/Juggling curve ball..question
MIME-version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 8bit
From: Marty Boroson [mailto:marty at becomingme.com]
Sent: Wednesday, April 05, 2006 9:44 AM
To: Harrison Owen
Subject: Re: Chaos/Juggling curve ball..question
Harrison
I love your story of Jack Chase ... and have been pondering it.
I'm wondering if there is a difference between the kind of leadership you
are describing, and what we could call "mastery". For me, mastery suggests
a juggler, pianist, potter, pole vaulter, martial artist, surgeon. Someone
who has learned and excelled at a technical skill. Of course, they also
have to get out of the way and let "something else" take over. But doesn't
this "something else" requires a very sophisticated and very talented
vehicle--the technician--for its expression? You say that when Jack is at
the "top of his game", he is invisible. Is this something that beginners
can do too? Or does it take years of experience and training in order to
become invisible?
Sadly, in the world of theatre, I have seen a lot of people who want to get
up on stage and perform, but lack the technical rigor or willingness to put
in the years of training necessary--which to me means they are just on an
ego trip. Great performers are, of course, inspired, but they also work
bloody hard to be worthy of that inspiration and to be worthy of our
attention.
I am in deep agreement with the philosophy of OST. And I know that OST is
perhaps compensating for an overemphasis on form, technique, hierarchy, and
training in society. But I do believe that some kind of technical training
and life experience are necessary in order to have a really meaninful and
productive letting go (or trusting the gut), even if the technical training
must be dropped in that process. All inspiration with no form is, well,
mush at best.
In the practice of Zen, form is considered absolutely essential--essential
for the letting go of form.
One deep bow, and big smile,
Marty
----- Original Message -----
From: "Harrison Owen" <hhowen at verizon.net>
To: <OSLIST at LISTSERV.BOISESTATE.EDU>
Sent: Thursday, March 30, 2006 6:44 PM
Subject: Re: Chaos/Juggling curve ball..question
Marty, I said this was rich -- and here is just a little response. You
wrote: "But that person is certainly not letting go of control. That person
is making massive control look easy, and we are thrilled because we know how
hard it is."
Having spent some considerable time in the presence of the sorts of people
you are talking about -- I rather suspect that they are so good that they
have fooled you -- which is OK -- but if they fool themselves as well, then
they are in real trouble. There is no question that a great CEO/MD is
dealing with an infinity of variables and details. Their "command" of the
situation is awesome in terms of the special knowledge they possess. But I
have never seen a really good one who thought for a minute that they were in
control. Indeed, the incredible detail of their knowledge, combined with a
certainty that there is an infinity of detail not in their knowledge, helps
them to understand as little else could -- just how impossible the notion of
full control really is. What you don't know about you certainly can't
control. And when they really pull off "a big one" -- everybody goes WOW!
But if you ask them how they did it, I have never heard one say that their
action was based on a detailed analysis of all data. The usual culprit is
identified as "The Belly" -- as in "My gut told me."
One of my favorite Senior Executives was Jack Chase who had responsibility
for a small operation: All Veteran Health Care in the USA. That consisted of
350 hospitals and clinics, 250,000 employees, in excess of 3.5 million
patient visits each year plus a 7 billion dollar budget. And to keep all
this going he had to deal not only with the Veterans Groups, but also the US
Congress, The White House, and the US medical establishment (medical schools
provided many of the physicians and residents.) Talk about complexity. And
Jack knew the system better than anybody. And he was also keenly aware of
what he didn't know. And when it came to action he would essentially open a
space in which the appropriate parties would gather to find their own
solution. Watching Jack at the top of his game was rather boring in a way,
because you rarely if ever saw him make a move. Under the best of
circumstances, he was totally invisible. One day he confided to me that if
he ever had to use direct power and authority (which he possessed in
abundance on paper), he considered that a failure.
Harrison
Harrison Owen
7808 River Falls Drive
Potomac, Maryland 20854
Phone 301-365-2093
Skype hhowen
Open Space Training www.openspaceworld.com
Open Space Institute www.openspaceworld.org
Personal website www.ho-image.com
OSLIST: To subscribe, unsubscribe, change your options, view the
archives Visit: www.listserv.boisestate.edu/archives/oslist.html
-----Original Message-----
From: OSLIST [mailto:OSLIST at LISTSERV.BOISESTATE.EDU] On Behalf Of Marty
Boroson
Sent: Wednesday, March 29, 2006 11:28 PM
To: OSLIST at LISTSERV.BOISESTATE.EDU
Subject: Re: Chaos/Juggling curve ball..question
Hi Phelim
First of all, I want to say how thrilled I am that you are on this list.
Having seen "70 Hill Lane" and "Shockheaded Peter", and other Improbable
pieces, I believe that you are one of the most wonderful and pioneering and
important theatre artists on the planet. (I've been meaning to say that for
a while.)
On the subject of juggling...
At first glance, the juggler is like a very "successful" corporate exec or
administrator. The rest of us just sit there and say "wow" as we see him or
her so successful at controlling a lot of complex factors and competing
directions. But that person is certainly not letting go of control. That
person is making massive control look easy, and we are thrilled because we
know how hard it is.
But I assume that the juggler is actually in a flow state, which involves a
high level of challenge as well as ease. It's about being happy on the
edge. Like any performer, this juggler must be very relaxed and trusting
within the context of his very highly developed skill. Who knows? Maybe he
would say that, in order to perform, he has to get out of the way
completely, and open space for the spirit of juggling to speak through him.
It's often said that OST involves letting go of control, but I believe that
that is somewhat disingenous. In OST, we are letting go of control with the
help of very subtle and finely honed structure. (There's a T on that OS!)
What I like most about OST is this structure which makes letting go of
control so wonderful and productive. Without structure we would have, well,
just nothing. (We certainly wouldn't have this wonderful list-serv.)
If we were all to just "let go" without appropriate social structure or ego
structure, I think there would just be a kind of psychotic formlessness.
However if we can let go within (and supported by) an appropriate social
structure and ego structure, there is transcendence. (OST, in my opinion,
is the minimum possible structure for the best possible result.)
>From a performance point of view ... I believe that there are different
kinds of performance. Or maybe a continuum. On the one hand there is the
technical skill variety -- from certain olympic sports to juggling, which
occasionally includes some kind of corny music or lighting effect to make it
look more like an
art. On the other hand, there is acting, which is more in the lineage of
shamanism, and thus involves a great deal of spiritual and emotional
openness and vulnerability, as you suggest. Maybe the real juggling act is
between skill on the one hand and art on the other. Or between structure on
one hand and freedom on the other.
I am also struck by the fact that this juggler is certainly creating and
holding tension and suspense, which is the essence of theatre, or at least
entertainment. [I believe that "entertainment" actually means "to hold
between".] Surely there is art in that. Creating a space that can hold a
certain level of tension and suspense also seems to me to be at the heart of
OST. "Walking the circle" doesn't just focus the energy, it builds the
energy. When the space is opened and everybody starts posting issues, there
is a burst of freedom that surely is commensurate with the amount of tension
(and conflict) the group had been holding previously. More tension leads to
more freedom.
Phelim, when you say:
>On the other hand great performances make you think: "I could do that
too!" and you want to jump onstage yourself.
... I assume that you are speaking as an actor! When I was involved in
theatre as a writer/producer and saw a great performance, I would think: "I
want that person in my play!" But most of the time, when I am seeing a
great performance, I hope that I don't think at all--I am just immersed in
the world being created for me.
I love what you said about vulnerability and an actor's relationship to the
unpredictable. To me, the closest analogy in Open Space is "not knowing".
But I don' t believe that "not knowing" is simple humility however. Most
OST facilitators, I imagine, have learned to "not know" the hard way. Just
as most actors have worked hard to become so vulnerable. Most OST
facilitators, I imagine, have spent a good portion of their lives trying
very hard to know, and given up. When Harrison speaks about having an open,
clear and vacant mind, I imagine that he speaks from a lot of experience.
:)
I have spent many years trying to juggle a thousand balls: it seems to be
my nature to try. But then sometimes I fall down and drop the balls, and I
am suddenly in awe of the complexity of the created universe, and am unable
to fathom ever coming to grips with it, and am amazed that I tried, and
amused that I tried, and I realize that I never really was in control, and
that in spite of having fallen down and given up, I still exist and
everything's still okay, and this is because I was really only ever just one
of the balls being juggled. This, to my mind, is "not knowing".
But back to juggling! This juggler--who calls himself Chris Bliss--is
certainly playing his part in reminding me how wonderful the world is. He
is certainly bringing his enthusiasm to the theatre of life. And he does
make me want to take out my balls and see if I can keep them in the air for
more than 30 seconds. I confess to a fondness for juggling because I just
love the weirdness of the circus, and am a clown at heart.
Fondly,
Marty Boroson
*
*
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>From Wed Apr 5 11:12:01 2006
Message-Id: <WED.5.APR.2006.111201.0400.>
Date: Wed, 5 Apr 2006 11:12:01 -0400
Reply-To: hhowen at verizon.net
To: OSLIST <OSLIST at LISTSERV.BOISESTATE.EDU>
From: Harrison Owen <hhowen at verizon.net>
Organization: HH Owen and Co.
Subject: Re: Chaos/Juggling curve ball..question
In-Reply-To: <000501c658be$68dca900$6400a8c0 at harrison>
MIME-version: 1.0
Content-type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit
Marty -- Thanks for the note. And I assume you meant this to go to OSLIST,
but it just came to me. Strange Gremlins! Anyhow, I have forwarded it to the
LIST and will answer it there. But, the short answer is, "You can't make a
silk purse out of a sow's ear." Translation: Of course technical skills are
important, but as we all know, technical skills do not (alone) create
superior performance. For me the "plus" is authenticity and integrity. With
these an "average player" can rise above whatever technical limitations. So
can anybody do this? I think so. Does a great deal of practice and hard work
help? Absolutely!!
Harrison
Harrison Owen
7808 River Falls Drive
Potomac, Maryland 20854
Phone 301-365-2093
Skype hhowen
Open Space Training www.openspaceworld.com
Open Space Institute www.openspaceworld.org
Personal website www.ho-image.com
OSLIST: To subscribe, unsubscribe, change your options, view the
archives Visit: www.listserv.boisestate.edu/archives/oslist.html
-----Original Message-----
From: OSLIST [mailto:OSLIST at LISTSERV.BOISESTATE.EDU] On Behalf Of Harrison
Owen
Sent: Wednesday, April 05, 2006 10:37 AM
To: OSLIST at LISTSERV.BOISESTATE.EDU
Subject: FW: Chaos/Juggling curve ball..question
From: Marty Boroson [mailto:marty at becomingme.com]
Sent: Wednesday, April 05, 2006 9:44 AM
To: Harrison Owen
Subject: Re: Chaos/Juggling curve ball..question
Harrison
I love your story of Jack Chase ... and have been pondering it.
I'm wondering if there is a difference between the kind of leadership you
are describing, and what we could call "mastery". For me, mastery suggests
a juggler, pianist, potter, pole vaulter, martial artist, surgeon. Someone
who has learned and excelled at a technical skill. Of course, they also
have to get out of the way and let "something else" take over. But doesn't
this "something else" requires a very sophisticated and very talented
vehicle--the technician--for its expression? You say that when Jack is at
the "top of his game", he is invisible. Is this something that beginners
can do too? Or does it take years of experience and training in order to
become invisible?
Sadly, in the world of theatre, I have seen a lot of people who want to get
up on stage and perform, but lack the technical rigor or willingness to put
in the years of training necessary--which to me means they are just on an
ego trip. Great performers are, of course, inspired, but they also work
bloody hard to be worthy of that inspiration and to be worthy of our
attention.
I am in deep agreement with the philosophy of OST. And I know that OST is
perhaps compensating for an overemphasis on form, technique, hierarchy, and
training in society. But I do believe that some kind of technical training
and life experience are necessary in order to have a really meaninful and
productive letting go (or trusting the gut), even if the technical training
must be dropped in that process. All inspiration with no form is, well,
mush at best.
In the practice of Zen, form is considered absolutely essential--essential
for the letting go of form.
One deep bow, and big smile,
Marty
----- Original Message -----
From: "Harrison Owen" <hhowen at verizon.net>
To: <OSLIST at LISTSERV.BOISESTATE.EDU>
Sent: Thursday, March 30, 2006 6:44 PM
Subject: Re: Chaos/Juggling curve ball..question
Marty, I said this was rich -- and here is just a little response. You
wrote: "But that person is certainly not letting go of control. That person
is making massive control look easy, and we are thrilled because we know how
hard it is."
Having spent some considerable time in the presence of the sorts of people
you are talking about -- I rather suspect that they are so good that they
have fooled you -- which is OK -- but if they fool themselves as well, then
they are in real trouble. There is no question that a great CEO/MD is
dealing with an infinity of variables and details. Their "command" of the
situation is awesome in terms of the special knowledge they possess. But I
have never seen a really good one who thought for a minute that they were in
control. Indeed, the incredible detail of their knowledge, combined with a
certainty that there is an infinity of detail not in their knowledge, helps
them to understand as little else could -- just how impossible the notion of
full control really is. What you don't know about you certainly can't
control. And when they really pull off "a big one" -- everybody goes WOW!
But if you ask them how they did it, I have never heard one say that their
action was based on a detailed analysis of all data. The usual culprit is
identified as "The Belly" -- as in "My gut told me."
One of my favorite Senior Executives was Jack Chase who had responsibility
for a small operation: All Veteran Health Care in the USA. That consisted of
350 hospitals and clinics, 250,000 employees, in excess of 3.5 million
patient visits each year plus a 7 billion dollar budget. And to keep all
this going he had to deal not only with the Veterans Groups, but also the US
Congress, The White House, and the US medical establishment (medical schools
provided many of the physicians and residents.) Talk about complexity. And
Jack knew the system better than anybody. And he was also keenly aware of
what he didn't know. And when it came to action he would essentially open a
space in which the appropriate parties would gather to find their own
solution. Watching Jack at the top of his game was rather boring in a way,
because you rarely if ever saw him make a move. Under the best of
circumstances, he was totally invisible. One day he confided to me that if
he ever had to use direct power and authority (which he possessed in
abundance on paper), he considered that a failure.
Harrison
Harrison Owen
7808 River Falls Drive
Potomac, Maryland 20854
Phone 301-365-2093
Skype hhowen
Open Space Training www.openspaceworld.com
Open Space Institute www.openspaceworld.org
Personal website www.ho-image.com
OSLIST: To subscribe, unsubscribe, change your options, view the
archives Visit: www.listserv.boisestate.edu/archives/oslist.html
-----Original Message-----
From: OSLIST [mailto:OSLIST at LISTSERV.BOISESTATE.EDU] On Behalf Of Marty
Boroson
Sent: Wednesday, March 29, 2006 11:28 PM
To: OSLIST at LISTSERV.BOISESTATE.EDU
Subject: Re: Chaos/Juggling curve ball..question
Hi Phelim
First of all, I want to say how thrilled I am that you are on this list.
Having seen "70 Hill Lane" and "Shockheaded Peter", and other Improbable
pieces, I believe that you are one of the most wonderful and pioneering and
important theatre artists on the planet. (I've been meaning to say that for
a while.)
On the subject of juggling...
At first glance, the juggler is like a very "successful" corporate exec or
administrator. The rest of us just sit there and say "wow" as we see him or
her so successful at controlling a lot of complex factors and competing
directions. But that person is certainly not letting go of control. That
person is making massive control look easy, and we are thrilled because we
know how hard it is.
But I assume that the juggler is actually in a flow state, which involves a
high level of challenge as well as ease. It's about being happy on the
edge. Like any performer, this juggler must be very relaxed and trusting
within the context of his very highly developed skill. Who knows? Maybe he
would say that, in order to perform, he has to get out of the way
completely, and open space for the spirit of juggling to speak through him.
It's often said that OST involves letting go of control, but I believe that
that is somewhat disingenous. In OST, we are letting go of control with the
help of very subtle and finely honed structure. (There's a T on that OS!)
What I like most about OST is this structure which makes letting go of
control so wonderful and productive. Without structure we would have, well,
just nothing. (We certainly wouldn't have this wonderful list-serv.)
If we were all to just "let go" without appropriate social structure or ego
structure, I think there would just be a kind of psychotic formlessness.
However if we can let go within (and supported by) an appropriate social
structure and ego structure, there is transcendence. (OST, in my opinion,
is the minimum possible structure for the best possible result.)
>From a performance point of view ... I believe that there are different
kinds of performance. Or maybe a continuum. On the one hand there is the
technical skill variety -- from certain olympic sports to juggling, which
occasionally includes some kind of corny music or lighting effect to make it
look more like an
art. On the other hand, there is acting, which is more in the lineage of
shamanism, and thus involves a great deal of spiritual and emotional
openness and vulnerability, as you suggest. Maybe the real juggling act is
between skill on the one hand and art on the other. Or between structure on
one hand and freedom on the other.
I am also struck by the fact that this juggler is certainly creating and
holding tension and suspense, which is the essence of theatre, or at least
entertainment. [I believe that "entertainment" actually means "to hold
between".] Surely there is art in that. Creating a space that can hold a
certain level of tension and suspense also seems to me to be at the heart of
OST. "Walking the circle" doesn't just focus the energy, it builds the
energy. When the space is opened and everybody starts posting issues, there
is a burst of freedom that surely is commensurate with the amount of tension
(and conflict) the group had been holding previously. More tension leads to
more freedom.
Phelim, when you say:
>On the other hand great performances make you think: "I could do that
too!" and you want to jump onstage yourself.
... I assume that you are speaking as an actor! When I was involved in
theatre as a writer/producer and saw a great performance, I would think: "I
want that person in my play!" But most of the time, when I am seeing a
great performance, I hope that I don't think at all--I am just immersed in
the world being created for me.
I love what you said about vulnerability and an actor's relationship to the
unpredictable. To me, the closest analogy in Open Space is "not knowing".
But I don' t believe that "not knowing" is simple humility however. Most
OST facilitators, I imagine, have learned to "not know" the hard way. Just
as most actors have worked hard to become so vulnerable. Most OST
facilitators, I imagine, have spent a good portion of their lives trying
very hard to know, and given up. When Harrison speaks about having an open,
clear and vacant mind, I imagine that he speaks from a lot of experience.
:)
I have spent many years trying to juggle a thousand balls: it seems to be
my nature to try. But then sometimes I fall down and drop the balls, and I
am suddenly in awe of the complexity of the created universe, and am unable
to fathom ever coming to grips with it, and am amazed that I tried, and
amused that I tried, and I realize that I never really was in control, and
that in spite of having fallen down and given up, I still exist and
everything's still okay, and this is because I was really only ever just one
of the balls being juggled. This, to my mind, is "not knowing".
But back to juggling! This juggler--who calls himself Chris Bliss--is
certainly playing his part in reminding me how wonderful the world is. He
is certainly bringing his enthusiasm to the theatre of life. And he does
make me want to take out my balls and see if I can keep them in the air for
more than 30 seconds. I confess to a fondness for juggling because I just
love the weirdness of the circus, and am a clown at heart.
Fondly,
Marty Boroson
*
*
==========================================================
OSLIST at LISTSERV.BOISESTATE.EDU
------------------------------
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view the archives of oslist at listserv.boisestate.edu:
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