Sublime

Configure an education system around the notion of collective intelligence and you make a powerful statement about your desire to help young people learn how to organize themselves to solve shared problems as well as developing themselves.

Artists learn “everything they can about the medium(s) with which they work … what they can expect from it and where it will fall short.”

Indeed, a key feature of what is really going on is that the instructor is mindful that most of the group equate authority with leadership and depend on his functioning within that expectation.

As is implied throughout this exploration of the experience of the artist as a primary metaphor for the reimagination of leadership, to be an artist is to be invested in the work.

All the teachers I worked with—Myrna Lewis, Adam Kahane, LeAnne Grillo, Joseph Jaworski, Otto Scharmer, Matt Gelbwaks, Grady McGonagill, and many others—are phronimos, people of practical wisdom.

Precisely because the approach is effective in meeting people in their own place of readiness for learning at a given moment in time, an individual learns aspects of the approach but rarely the totality of its interdependent elements.

I have learned if you take people to that edge in the practice of leadership, you come up against the purpose of life itself—a spiritual realm that is inherently a scary place. At one level this set of ideas might just help someone be a better manager or whatever. But when you work the framework in a way that keeps deepening that central question o

In this approach, the teacher remains the authority in the class-room—providing orientation and maintaining equilibrium in the group. But the teacher is also practicing leadership—skillfully allowing enough disequilibrium (confusion, frustration, disappointment, conflict, and stress) to help the group move from unexamined assumptions about the prac

(5) this new landscape creates a new moral moment in history.