'A little light, like a rushlight
to lead back to splendour.'
Ezra Pound Canto CXV1
Dear LO'ers,
>After reading and rereading a lot of recent contributions to this list, I
>may confidently say that we really form a Learning Organisation!
Leo, I can see your face before me, 'a face (is) inexhaustible, the most
exciting surface on the face on the whole of the earth.' (Liechtenstein)
And I glimpse the 'faceprint' of a unique soul call out upon the
'everyface' of a world soul.
When I see one face (not the mask) I can see the world.
>It has been mentioned earlier that we may thank our host Rick for creating
>and facilitating an environment where thoughts are constantly stimulated
>to flow; it is a 'fluxy' environment.
A live landscape fit to play in, to grow within, a learning field, a
growing field, a leaning field when needs be ;-) an 'inner/outer' canvas.
'Treat dreams with the respect they deserve, as they are the most
inviolable things which takes place in the human being.' Elias Canetto (of
Paul Klee).
I went with Kafka to an exhibition of paintings, - there were some by
Picasso. ' He is a willful distortionist,' I said. 'I do not think so,'
said Kafka. He only registers the deformities that have not yet
penetrated our consciousness. Art is a mirror, which goes fast, like a
watch - sometimes.'
>All kinds of thought flows run to all kind of directions, they regularly
turn >around and find earlier flows (which were still running).
>And regularly the birth of new offspring's could be observed. Is this a
>dialogue, discussion, debate, or indaba :-)
>???
'The pen is where the writing flows in sight the measuring eye follows
line by line, mouth set in the mind's movement throughout attentive,
tentative - let the numbers fall into the hands one drawing the letters
one by one holds the count at bay, the other keeps the time of an inner
wave in sway.' R Duncan
>Rick, you deserve a reward as the "invisible creator and host of a
>Learning Environment".
>[Host's Note: Thank you, Leo. ..Rick]
ex amoris beneficio
>It has been earlier mentioned that At de Lange is our most regular
>contributor, contributing the highest quantity of words. It is rather
>unusual to find contributions on a general discussion list which pass 1000
>words. The contributions of At seldomly are less. Probably in each country
>there is a fiction writer which receives the name: "s/he writes faster
>than God could read".
Artists both of/in love.
'Between the idea
And the reality
Between the motion
And the act
Falls the shadow.'
The 'real thing' and its mimesis.
An ancient game.
Old questions.
Writing like painting and any creative production is to cast away the
substance for the shadow. This brings the possibility to recover the losses.
Have you ever felt that you were a draughtsman in a game against time?
Especially when you are painting someone you loveā^Ą¦.
>Well, At deserves that title too.
>Recently At himself pointed to the fact that he seldomly initiates the
>birth of a new offspring of discussion/thought flows. No, to the contrary.
>He always stimulates the forth going of the flows, sometimes suggesting to
>return to one or more earlier flows and currents. It is as if he stirs
>the waters, it is as he opens new directions, it is as he adds new water
>so that the flow maintains or increases. However he does this work without
>dictating, direct answering, direct influence on the direction of flow. He
>could hook to each direction and immediately catch-up the velocity of the
>flow. Any disturbance is as much as possible avoided. And as we could
>observe, the vivid birth of a variety of offsprings happens daily and
>seemingly spotaneous.
'Know you the land where the lemon trees bloom?
In the dark foliage the gold oranges glow;
a soft wind hovers from the sky, the myrtle is still
and the laurel stands tall - do you know it well?'
Goethe's Wilhelm Meister.
>The effect of this 'avoiding disturbances' is that we feel free. Each of
>us may use their own wordings, lengths of contributions, issues and
>directions to flow. Only in very, very rare cases a minor correction of
>Rick might be necessary.
'The most perfect and vivid expression of our time, in philosophy as well as
in literature and art, is the fragment. The great works of our time are not
compact blocks, but rather totalities of fragments, constructions always in
motion by the same laws of complementary opposition that rules the particles
in physics and linguistics.'
Octavio Paz. Alternate Current.
>Both, Rick and At look in their own ways to the 'dassein' of all of us. We
>could and may act with our own identity. However, they both look too, to a
>'mitsein'-environment. We are aware of most currents and flows in this
>environment, we may hook too, to each of these flows. At de Lange's role
>is somewhat different from Rick's. At tries to open our eyes with an
>unbelievable patience and love to see the covering themes of our complex
>fluxy environment: it is a level of systems thinking, I never met before.
>It is wisdom in optima forma.
' Could you name for me the headstones in your garden? Is it a secret
garden or a transposition of your house's garden?'
'I would love to name them, but the time is not ripe.'
RB Kitaj
>And so I come to the subject heading:
>"dassein++mitsein=we'sdom"
>(see LO23287: dassein-->learning individual; mitsein-->learning
>organisation).
>I have consulted some ethymological dictionaries to find the roots of the
>word 'wisdom' (Dutch: wijsheid, wijsdom; German: Weisheit, Weistum). I
>sense that the root of this word has something to do with
>'we'/'wij'/wir. However I could not find definite clues for this
>hypothesis. But, with the dassein/mitsein dialogue still freshly in our
>thoughts, we may claim that the true 'learning organisation' becomes an
>organisation with much wisdom.
'It takes spiritual rhythm to grasp music in its essenceā^Ą¦.All the genuine
invention is moral progress.
To submit to its inscrutable laws, to overcome and control one's own mind, so
it set forth the revelation: that is the isolating principle.
-
Thus every true creation is independent, mightier that the artist himself.
Music gives the mind a relation to the total harmony.
Any single, separate idea has in it the feeling of the harmony, which is the
unity.'
Beethoven.
>And this organisation becomes like that, when the sum of the individuals
>are a 'we'. This means that nobody outside such organisation could claim
>or dictate that it is a learning organisation, but only the 'we' who could
>say such.
>And it is At de Lange who opened our eyes for this wisdom and I think I
>could speak for most of 'us' (that is really my feeling - - we/us) that
>"being an individual (dassein), acting together in a learning (flowing)
>environment results in a learning organisation with a lot of wisdom
>(we'sdom)".
'From the (this) matrix, the greatest movement, flows the life of the
work, with all its contingencies, its powers and perils in the community
of human minds.'
Susanne Langer
>And for this 'eye- and mind-opener' At deserves a reward, the reward of
>wisdom.
>And we?? Yes we, all of us, acting and lurking, we may give ourselves a
>medal to be in a true learning organisation.
>Thank you all, and let us continue with our fascinating journey,
For dr. Leo D. Minnigh
'When a young bamboo sprouts, it is only an inch long, but the joints and
leaves are already latent in it. All nature grows this way, whether it be
cicadas and snakes, or bamboos that shoot up a hundred feet high. Nowadays
the artists construct a bamboo, joint by joint and leaf by leaf. Where is the
bamboo? Therefore in painting bamboos, one must have bamboo formed in one's
breast; at the time of painting; one concentrates and sees what one wants to
paint. Immediately one follows the idea, handles one's brush to pursue the
image just seen, like a hawk swooping down on a rabbit. With a moment's
hesitation, it would be lost. This is what Yii-k'o taught me. I understood
what he meant, but could not carry it out. That is because my hand refused to
obey me, through lack of practice. There are things with which you are
vaguely familiar; you seem to know it, but when you want to paint it, you are
at a loss. This is true not only of painting bamboo ... [My brother] Tse-yu
cannot paint; he merely understands the idea. I understand not only the idea,
but also have learned the technique ...
I have been of the opinion that men, animals, houses and furniture have a
constant form. On the other hand, mountains and rocks, bamboos and trees,
ripples, mists and clouds have no constant form [hsing ], but have a constant
inner nature [ Li- an inner law of their being]. Anybody can detect
inaccuracies in form, but even art specialists are often unaware of errors in
the inner nature of things. Therefore some artists find it easier to deceive
the public and make a name for themselves by painting objects without
constant forms. However, when a mistake is made with regard to form, the
mistake is confined to that particular object; but when a mistake is made in
the inner nature of things, the whole is spoiled. 'There are plenty of
craftsmen who can copy all the details of form, but the inner nature can be
understood only by the highest spirits. Yti-k'o's paintings of bamboos, rocks
and dried-up trees may be said to have truly seized their inner nature. He
understands how these things live and die, how they twist and turn, are
blocked and compressed, and how they prosper and thrive in freedom. The
roots, stalks, joints and leaves go through infinite variations, never alike,
and yet always appropriate; they are true to nature and satisfying to the
human spirit. 'these are records of the inspirations of a great soul ... '
Su Tung-p'o 1036- 1101
And what is a face but rivulet circles?
Best wishes,
Andrew Campbell
--Learning-org -- Hosted by Rick Karash <rkarash@karash.com> Public Dialog on Learning Organizations -- <http://www.learning-org.com>