Claus poetics of the unsolvable v18 PDF
Preview Claus poetics of the unsolvable v18
CRANFIELD UNIVERSITY Claus Springborg Art-based Methods in Management Education Cranfield School of Management PhD Academic Year: 2010-2014 Supervisor: Donna Ladkin, Kim Turnbull December, 2014 CRANFIELD UNIVERSITY Cranfield School of Management PhD Academic Year 2010-2014 Claus Springborg Art-‐based methods in management education Supervisor: Donna Ladkin, Kim Turnbull December, 2014 This thesis is submitted in partial fulfilment of the requirements for the degree of Ph.D. © Cranfield University 2014. All rights reserved. No part of this publication may be reproduced without the written permission of the copyright owner Everything on the following pages is built upon the foundation of the sensory impressions from thousand of hours I have spent teaching, learning, watching, and enjoying dance and music; and from an equal amount of hours spent watching sculptures, paintings and installations, in places, such as, Tate, National Gallery, Somerset House (London), Herimitage (Saint Petersburg), and Louvre (Paris); and listening to the evocations and transmissions of spiritual teachers. These sensory impressions are both the foundation of the present work and its ultimate message. They are the tools of perception-‐action I have spent forty years developing and four years formulating in this work. Abstract (323 words) The purpose of this dissertation is to develop explanatory theory for the learning processes facilitated by art-‐based methods in management education (ABMs). Such theory is important because managerial educators increasingly use ABMs, and without a well-‐developed theory it may be difficult to realise these methods’ full potential. Current research on ABMs uses theories from other fields but generally sees ABMs as methods for making important information available for reflection, e.g. information about unconscious assumptions, aesthetic experience, or non-‐propositional or tacit knowledge. This shows that the field is grounded in a representationalist view of cognition. This view of cognition makes it difficult to explain certain themes in the research field, such as, the importance of staying with the senses without reflecting, aesthetic agency, and the process of making. I therefore asked: What insights can be gained from exploring ABMs, using theories grounded in the embodied view of cognition, in particular Conceptual Metaphor Theory (CMT) (Lakoff & Johnson, 1999) and simulation theories (Barsalou, 2008). For the empirical work, I used an experimental design with 60 managers from Danish companies. All participants selected problems from their work they perceived as important, yet unsolvable. They were randomly divided into three groups: Two groups using different ABMs to address problems and a comparison group where no ABM was used. The experiment indicated that 1) creating new metaphors for a problem based on different sensory metaphors enabled the participants to import behaviour from contexts unrelated to the problematic situation, and 2) focusing on sensory experience enabled participants to remove judgments about self or others. Furthermore, the experiment indicated that learning outcomes reflected participants’ experience of the concrete learning intervention. These findings contribute to CMT by suggesting that it is possible to formulate relationships between changes in metaphors and specific learning outcomes. They contribute to ABM by suggesting that experiences that participants have during ABMs are later used as tools for structuring other experiences – not merely as data for reflection. Thank you to ESRC (Economic and Social Research Council) for funding Award Ref : ES/IO27335/1 Grant No : ES/19005271 i Acknowledgements So many people have supported the Ph.D. project in many different ways and I would like to thank everyone and to mention a small selection here. First of all I’m deeply grateful to my supervisor and friend Donna Ladkin for her respectful, engaged, supportive, and thorough supervision and for having the courage to take a student with a highly unusual background in dance, music, and meditation as her Ph.D. student. I would also like to thank my parents for dragging me to so many modern art museums when I was a child and for making it possible for me to learn to draw, play music, and write poetry. I think they got more than they bargained for in a son with a life long compulsion for not following those inner currents, where goals cannot be stated before they have been reached. Also warm thanks to the 60 managers who (again courageously) showed up for what they knew would be an unusual process. Thanks for showing up – and for staying. Thanks to all the academics, who supported me with conversations and feedback during the 7 years I kept writing applications to various universities. To Lotte Darsø for helping me get started. To those who (unknowingly) helped me re-‐find my passion when I wanted to give up: Rob Austin for his encouraging feedback on the project. To Ole Fogh Kirkeby and Sverre Raffnsøe for their amazingly positive and supportive evaluation of my 7th application. To David Barry, Ian Sutherland, Jonathan Lupson, Kim Turnbull, Steve Taylor, and many others. And to the students who helped me transcribe my many hours of interviews. As many of my ideas were influenced by the spiritual teachings I have received over the years, I also want to thank those who taught me in this area: Velusia Van Horssen, Jeremy Klein, Faisal Muqaddam, Claudio Naranjo, Chökyi Nyima Rinpoche, and others. I will add special thanks to Jeremy for helping me prepare the presentation for my interview at Cranfield SOM and for our inspiring meetings. Thanks to all my many different art teachers and colleagues. A special thanks to Boris Rønvig, Sofie Hermind, Troels Boberg, and Jess Jensen for our stimulating and engaging conversations about art. You are beyond a doubt my favourite people to both agree and disagree with. My deepest gratitude and love to all the wonderful dancers, organisers, and teachers who have invited me to teach in their cities and at their festivals and given me freedom to extend my research in these artistic spaces (Daria Sukhorukova, Alex Postnikov, Inna Pavlichuk, Shantam i ii Nabhraj, Inna Falkova, Sergey Golovnea, Alexandra Soshnicova, Tatiana Gordinscaia, Sasha Bezrodnova, Maria Chiara, Antony Matsepa, Adrianna Pegorer, Gabriele Koch, Gloria Gómez Mataix, Malin Zehaie, Aglaya Dateshidze, Katerina Meklis, Alexandra Alexandrova, Gunta Prūsāne, Bo Norman, Silvina Amitabha, and Olya Petryk). A special thanks to my friend and colleague Angela (Snapsik) Doniy for our profound talks, silences, dances, and laughs. And finally, a thank you to Tate Modern, Somerset House, and National Gallery in London; for having amazing and well-‐curated collections with free admission, and to other museums and cultural institutions around the world, from Hermitage in Saint Petersburg to Moma and Guggenheim in New York to Louisiana and ‘Den Frie’ Centre of Contemporary Art in Denmark. A great deal of the present work was developed in front of sculptures and paintings in these places. iv
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