Reflective log

Description

I need to complete a reflection on this course in which I have liaised with my group members at an event organised locally in Leeds and learnt skills and knowledge through interaction with them. Please write mainly about my reflection on this collaborative organisation called Open Source Arts (OSA), a description of this organisation and their philosophy can be found in the attachment below. The purpose of attending this course was to prove the validity of their theories and methods, which cannot be quantified and verified with data, so I can only present the results by observing participation in their activities and reading the relevant literature.
What we did for them was to give the OSA some organisational advice and insights from the perspective of cultural differences between China and abroad, and to explain and justify the OSA’s theories on ‘communication’ and ‘listening’ in relation to the theories in the literature provided in the annex (LEADING FROM THE EMERGING FUTURE).
We participated in some of OSA’s activities, including making eco-friendly lanterns and attending a circus. The lantern making activity over was made by a facilitator and other participants individually, using glue made from potatoes and eco-friendly paper, during which the facilitator would guide the communication and interaction, which is very much in line with OSA’s ideas about environmental protection and listening. We could feel the fair, free and welcoming atmosphere that this organisation offers to the participants.
We learnt the importance of teamwork and how to better establish effective communication, because at the We learnt the importance of teamwork and how to better establish effective communication, because at the beginning our communication with OSA was not good, although it was an activity that did not present a performance result, we learnt and progressed more I also made some suggestions for OSA, such as the need to further strengthen the promotion of the organisation. I have also produced a short film to document and introduce OSA, which I hope to publish on TIKTOK to attract more participants.Harvard style guidelines
General
1. Initials should be used without spaces or full points.
2. Up to six authors may be listed. If more then list the first three authors and
represent the rest by „et al.‟ rather than write them out in full.
Text citations
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1. If the author‟s name is in the text, follow with year in parentheses:
… Jones (2003) has argued …
2. If author‟s name is not in the text, insert last name, comma and year:
… a recent study (Smith, 2009) has described …
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authors, use et al.:
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both the text and the list:
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with a comma:
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Please start with the oldest publication.
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9. For an institutional authorship:
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11. Citations from personal communications are not included in the reference list:
… has been hypothesized (David Smith, 2008, personal communication).
Reference list
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1. Check that the list is in alphabetical order (treat Mc as Mac).
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dashes; the name must be repeated each time.
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under D and V respectively. List them as: De Roux DP, and not Roux DP, de.
When cited in the main text without the first name, use capitals for De, Van,
Von, De la, etc. (Van Dijk, 1998)
5. Names containing Jr or II should be treated as follows:
Jones P, Jr (2008)
Brown S, II (1995)
6. References where the first-named author is the same should be listed as
follows:
Single-author references in date order;
Two-author references in alphabetical order according to the second author‟s
name;
Et al. references in alphabetical order; in the event of more than one entry
having the same date, they should be placed in alphabetical order of second
(or third) author, and a, b, etc. must be inserted.
Brown J (2003)
Brown TR, Yates P (2003)
Brown W (2002)
Brown W (2003a)
Brown W (2003b)
Brown W, Jones M (2003)
Brown W, Peters P (2003)
Brown W, Hughes J, and Kent T (2003a)
Brown W, Kent T, and Lewis S (2003b)
7. Check that all periodical/publication data are included – volume, issue and
page numbers, publisher, place of publication, etc.
Reference styles
Book:
Author A and Author B (year) Book Title. Place: Publisher name.
Crouch C, Le Gales P and Trigilia C (2001) Local Production Systems in Europe:
Rise or Demise? Oxford: Oxford University Press.
Denzin NK (1989) The Research Act: A Theoretical Introduction to Sociological
Methods, 3rd edn. Englewood Cliffs, NJ: Prentice-Hall.
Hollingsworth JR and Boyer R (eds) (1997) Contemporary Capitalism: The
Embeddedness of Institutions. Cambridge: Cambridge University Press.
Chapter in a book:
Author A (year) Chapter title: Subtitle. In: Editor A (ed.) Book Title. Place: Publisher,
00–00.
Author A, Author B and Author C (year) Chapter title: Subtitle. In: Editor A and
Editor B (eds) Book Title. Place: Publisher, 00–00.
Author A and Author B (year) Chapter title: Subtitle. In: Editor A, Editor B and
Editor C (eds) Book Title. Place: Publisher, 00–00.
Gumley V (1988) Skin cancers. In: Tschudin V and Brown EB (eds) Nursing the
Patient with Cancer. London: Hall House, 26–52.
Binns T, Bek D and Ellison B (2007) Sidestepping the mainstream: Fairtrade rooibos
tea production in Wupperthal, South Africa. In: Maye D, Holloway L and Kneafsey
M (eds) Alternative Food Geographies: Representation and Practice. Oxford:
Elsevier, 331–349.
Article in a journal:
Author A and Author B (year) Article title: Subtitle. Journal vol(issue): 00–00.
Author A, Author B and Author C (year) Article title: Subtitle. Journal vol(issue):
00–00.
Author A, Author B, Author C et al. (year) Article title: Subtitle. Journal vol(issue):
00–00.
Winter M (2003) Embeddedness: The new food economy and defensive localism.
Journal of Rural Studies 19(1): 23–32.
Hoskins C and Mirus R (1988) Reasons of the US dominance of the international
trade in television programmes. Media, Culture and Society 10(4): 499–515.
Brossard D, Shanahan J and McComas K (2004) Are issue-cycles culturally
constructed? A comparison of French and American coverage of global climate
change. Mass Communication and Society 7(3): 359–377.
Article in a journal published ahead of print:
Author A and Author B (year) Article title. Journal 00: 1–00 (accessed 00 month
year).
Author A, Author B and Author C (year) Article title. Journal 00: 1–00 (accessed 00
month year).
Author A, Author B, Author C et al. (year) Article title. Journal 00: 1–00 (accessed
00 month year).
Bakker AB, Emmerik HV and Riet PV (2008) How job demands, resources and
burnout predict objective performance. Anxiety, Stress and Coping 00: 1–10 (accessed
6 January 2010).
Note: volume is given as “00”.
Website
National Center for Professional Certification. (2002) Factors Affecting
Organizational Climate and Retention. Available at:
www.cwla.org./programmes/triechmann/2002fbwfiles.
Unpublished thesis
Kramer B (2008) Employee ownership and participation effects on firm outcomes.
Unpublished doctoral dissertation, City University of New York.
Newspaper
Clark JM (2006) Too close to call. The Independent, 21 May, p. 10.
Working paper
Freeman RB, Kleiner MM and Ostroff C (2000) The anatomy of employee
involvement and its effects on firms and workers. National Bureau of Economic
Research Working Paper 8050, Cambridge.
Equal Opportunities, Equitability and
Welcome Policy
A deep welcome
Open Source Arts engages communities to actively create better places for themselves to
live in, whilst showcasing and encouraging creativity, and environmental and social sustainability.
We are passionate about relating well, with humanity, both to each other within our team and
outwardly within and between our communities, in our city, nationally and globally. We aim to
strengthen networks in our communities, between and amongst people of all characteristics,
namely this refers to the protected characteristics of sex, gender identity, race, disability, age,
sexual orientation, religion or belief, marriage and civil partnership, and pregnancy and maternity.
We are also including asylum status, care giver status, class and language ability as these are also
characteristics which are discriminated against. We believe that when communities are well
connected and more equitable, people have more space to think about looking after each other
and their environment. At Open Source Arts we are focused on working with and for our
community, understanding that being an organisation which authentically welcomes all people is
vital in building a cohesive, thriving and just community.
We aim to develop a working environment where all employees, partners and
collaborators are treated as individuals, in a fair, respectful and consistent way. We work
following the values and the practices represented in the Equality Act 2010, but also go further
than this act, by promoting a culture of respect and dignity and actively challenging
discrimination, should it ever arise. We aim to remove unnecessary barriers for our workforce,
actively putting in place structures for some positive action to help redress the current balance,
and actively encourage those we work with by supporting them on their development, promotion
and career planning.
Open Source Arts will continue to support all those who work or collaborate with us, upholding
the principles of equitability, inclusion and welcome in all everyday activities, roles and services.
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Equality and Diversity Policy
1. Purpose
This policy sets out Open Source Arts’ approach to equality and diversity. Open Source Arts is
committed to practicing and promoting a culture that actively sees the human and recognises
the value and insight brought by people from all backgrounds, identities and life experiences.
We are committed to creating meaningful change which models the truly equitable futures
which we all want to see.
Open Source Arts aims to be an inclusive organisation, committed to providing equal
opportunities throughout employment including in the recruitment, training and development
of employees, and to pro-actively tackling and eliminating discrimination.
We want to make clear our commitment to actively include people from all backgrounds and
communities in our lives, our work and our projects, making available to everybody equal
opportunities and warm welcomes into every aspect of what we do as Open Source Arts.
We know there is more we could have already accomplished, and are sorry to reflect that we
have not done more already. We recognise that people with protected characteristics are
currently under- represented in our workforce, audiences, and community, and we are taking
positive action to redress this.
We commit to deepening our outward solidarity, moving towards a truly inclusive, equitable
future.
We understand that this commitment to welcome and inclusivity is not always matched with
our performance, so we commit that this shall be a living document which is regularly reviewed
and updated as we continue our learning as individuals and as an organisation.
2. Equality and diversity at Open Source Arts
At Open Source Arts, we understand that advocating for equality means breaking down
barriers, eliminating discrimination and ensuring equal opportunities and equal access for all – in
employment, in opportunities, and to goods and services.
Our approach to diversity is centred in celebrating the individual and valuing everyone,
understanding that each person is unique, with visible and non-visible differences. By respecting
this, everyone can feel valued for their work which is beneficial not only for the individual but
also for Open Source Arts and for society.
We acknowledge that equality and diversity are not inter-changeable but inter-dependent.
At Open Source Arts, we understand that our organisational culture helps create the deep
welcome required for everyone to thrive. By encouraging the personal leadership of our team
members we aim to build our awareness and understanding which will enable us to create an
organisation which is more welcoming to everybody from all backgrounds, communities, life
experiences, identities and with any characteristic.
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Building relationship across difference dissolves distance and enables more authentic
welcome, allyship and solidarity. We have a continued commitment to building relationships
with people and communities with protected characteristics. We are creating more working
partnerships with artists and curators with protected characteristics so that we can authentically
welcome their wisdom into our programming cycle and thereby produce activity which is
culturally relevant to their lived experience. These relationships will enrich our workforce and
programme of activities.
We have received professional consultation on steps that we can take to improve physical
accessibility to our venue, and we aim to action their recommendations as soon as possible. This
includes making the upper floor of the building wheelchair accessible.
3. Scope
The rights and obligations set out in this policy apply equally to all employees and subcontractors, whether part-time or full-time on a substantive or fixed-term contract, and also to
associated persons such as temporary or agency staff, volunteers, interns, trainees, apprentices,
contractors, business partners and others employed under a contract of service.
You have personal responsibility for the application of this policy. As part of your induction, you
are expected to read and familiarise yourself with this policy. You are then expected to ensure
that this policy is properly observed and fully complied with during your work with us. You will
be required to behave in line with equality law, and any breach of this will be treated as a
disciplinary matter and or breach of contract.
This policy is of particular importance to those concerned with decisions regarding recruitment,
training and promotion or any other employment decisions. However, this policy is relevant to
all who make decisions in or are associated with Open Source Arts, or when applying a rule or
way of doing things. As all have a responsibility to uphold an inclusive culture of welcome, and
to hold each other to account.
This policy provides the overarching ambition of Open Source Arts in regards to and the
expectation from those we work with to be actively working towards creating an equitable
future. We intend to continue developing this policy to address each protected characteristic
and their intersections, developing our understanding and approach as we learn more.
We believe this is much more than just a physical document, or a piece of policy – it is a
practice that we actively engage with and exercise at every event we run, every space we host,
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every project we work on, and in our interactions with everybody we meet. This policy will be
reviewed and referred to regularly as a team, and will continue to grow as the understanding of
our team continues to grow and expand.
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4. Open Source Arts’ commitment
Every employee is entitled to a working environment that promotes dignity, equality and
respect for all. Open Source Arts will not tolerate any acts of unlawful or unfair discrimination
(including harassment) committed against an employee, contractor, job applicant or visitor
because of a protected characteristic such as:















sex;
gender identity and or gender reassignment;
marriage and civil partnership;
pregnancy and maternity;
race (including ethnic origin, colour, nationality and national origin);
disability;
sexual orientation;
religion and or belief;
age;
language ability;
class;
asylum status;
experience of the care system;
caring responsibilities; and
experience of the justice system.
Discrimination on the basis of work pattern (part-time working, fixed term contract, flexible
working) which is unjustifiable will also not be tolerated.
All employees will be encouraged to develop their skills and fulfil their potential and to take
advantage of training, development and progression opportunities with Open Source Arts.
Selection for employment, promotion, training, or any other benefit will be on the basis of
aptitude and ability.
No form of intimidation, bullying or harassment will be tolerated. If you believe that you may
have suffered discrimination because of any of the above protected characteristics, you should
consider the appropriateness and feasibility of attempted informal resolution by discussion with
the organisation’s director.
Allegations regarding potential breaches of this policy will be treated in confidence and Open
Source Arts will ensure that individuals who make such allegations in good faith will not be
victimised or treated less favourably by the organisation as a result.
Employees or subcontractors may also be personally liable for any acts of discrimination
prohibited by this policy that they commit, meaning that they can be sued by the victim.
We would like to note that we recognise that race and gender are a social construct.
Open Source Arts as an organisation bridging the cultural sector, environmental sector, and
working in the third sector, is advocating to influence our partners and other organisations to
encourage them to challenge systemic oppression and discrimination in their organisations.
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Open Source Arts may in certain circumstances, treat people with some protected
characteristics more favourably than people who don’t share those protected characteristics.
We may target people with a particular protected characteristic through positive action if they
are currently missing out on our services. We may also sometimes provide services specifically
for people with a protected characteristic. The aim being to provide more opportunity to those
who typically have fewer opportunities available, and to remove some barriers that people
otherwise face.
We understand that unlearning prejudice and systemic privilege is a journey which we will be on
for the rest of our lives and our existence as an organisation, however we would like to clearly
state that we are committed to this journey and will continue to learn and develop so that we
can become truly equitable.
We want to make clear our commitment to include people from all backgrounds and
communities in our lives, our work and our projects, making available to everybody equal
opportunities and warm welcomes into every aspect of what we do as Open Source Arts.
Open Source Arts commits to:
● Welcoming people with any of the above characteristics, and aims to create an
environment and culture which actively invites and holds space for people.
● Provide assurance to anyone who feels that they are being discriminated against that all
members of staff will take their concerns and experience seriously, and the situation
will be dealt with accordingly.
● Not treating a person worse because of one or more of their protected characteristics.
● Not doing something to someone which has (or would have) a worse impact on them
and on other people who share a particular protected characteristic than on people
who do not share that characteristic. ‘Doing something’ can include making a decision,
or applying a rule or way of doing things.
● Not treating a disabled person unfavourably because of something connected to their
disability where we cannot show that what we are doing is objectively justified.
● Not treating a person worse than someone else because they are associated with a
person who has a protected characteristic.
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● Not treating a person worse because we incorrectly think they have a protected
characteristic.
● Not treating a person badly or victimise them because they have complained about
discrimination or helped someone else complain or done anything to uphold their own
or someone else’s equality law rights.
● Not harassing, victimising or discriminating against a person.
● Making reasonable adjustments to make sure that disabled people are able to use our
services as far as is reasonable to the same standard as non-disabled people.
● Not refusing to serve someone or take them on as a client because of a protected
characteristic.
● Not give someone a service of a worse quality, in a worse way, or with worse terms than
we would usually provide the service because of a protected characteristic.
● Not put someone with a protected characteristic at any other disadvantage.
5. When does this policy apply?
This policy applies to all conduct in the workplace and also to conduct outside of the
workplace that is related to your work (e.g. at meetings, social events and social interactions
with colleagues) or which may impact on Open Source Arts’ reputation (e.g. the expression of
views on social media, contrary to the commitments expressed in this policy, that could be
linked to Open Source Arts).
This policy applies at all decision points, or when applying a rule or way of doing things. We set
out below some specific areas of application:
a) Recruitment
Selection for employment at Open Source Arts will be on the basis of aptitude and ability.
Where possible, Open Source Arts will capture applicants’ demographics as part of the
recruitment processes to promote the elimination of unlawful discrimination.
We will make every effort to specifically invite people with protected characteristics to apply for
employment opportunities. We have a commitment to interviewing at least one candidate with
protected characteristics in the final round of all recruitments & aspire that 30% of all
applications for new roles will be from those with protected characteristics.
b) Training
You may also be required to participate in training and development activities from time to
time, to understand the need for such a policy, to understand the contents of the policy, and to
ensure that we all adhere to this policy.
c) Promotion
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All promotion decisions will be made on the basis of merit and will not be influenced by any of
the protected characteristics listed previously. Each team member is invited to examine their
own implicit biases. Promotion opportunities will be monitored to ensure equality of
opportunity at all levels. Where appropriate, steps will be taken to identify and remove
unnecessary or unjustifiable barriers to promotion.
d) During employment
The benefits, terms and conditions of employment and facilities available to Open Source Arts
employees will be reviewed on a regular basis to ensure that access is not restricted by unlawful
means and to provide appropriate conditions to meet the specific needs of disadvantaged or
under-represented groups.
Open Source Arts team receive an hour paid time each week for personal learning to educate
themselves and learn.
The Open Source Arts team meet weekly to discuss our learning, see our blind spots, and learn
from and challenge each other.
If a team member has lived experience of the discrimination of the learning topic, an hours paid
time each week is offered for self-care.
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Contact Us
Our practice of developing a deep welcome for everybody is ongoing. We will keep our hearts open
to any opportunities which emerge for us to become more truly welcoming and challenge
systemic oppression in our organisation and in ourselves as a team. Please be in touch with us
if you have any questions, or if you see any opportunities for how we can improve the Open Source
Arts Equal Opportunities and Welcome Policy.
Open Source Arts
Unit 1A Aire Place Mills, 143 Kirkstall Rd, LS3 1JL
info@opensourcearts.co.uk
0113 246 8975
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Scharmer, C. O., & Kaufer, K. (2013). Leading from the emerging future: From ego-system to
eco-system economies. Berrett-Koehler Publishers.
OVERVIEW
We live in an increasingly fragile society where our economic development depends on
natural ecosystems, but our institutional decisions are self-centred. The destruction of the
environment and the plundering of resources by humans make the two antagonistic. So the
solution to the current dilemma is, firstly, to stop relying on the earth for survival, but this is
clearly not feasible. Secondly, change the institutional mindset so that the goal is no longer to
develop the economy but to coexist with the environment. We therefore need to focus on the
economic system, and then we need to reflect on the solution: how to change the logic of the
economic system? This book will provide us with guidance.
This book can be summarised as a U-shaped theoretical model. On the left side of the
U-shape (the first four chapters of the book), we see some of the structural problems and
symptoms of the current society, i.e. the eight systemic disconnects. On the right side of the
U-shape (the last four chapters of the book), the author tries to take us through the process of
envisioning, implementing and experiencing new ideas of behaviour. And they propose highly
informative solutions from the perspective of the individual, the relationship, the system and the
future.
Coming first to the problem-digging section, the eight systemic disconnects show that people
have economic, social and spiritual-cultural problems, but they all arise from the same root cause:
we are still trapped in the economic frame of mind of the past. So what is the evolution of our
economic framework of thought from the past to the present? The authors summarise it in four
economic models:
-1.0 The state-focused model, with its hierarchical and centralised character.
-2.0 The free-market model, characterised by the rise of the private sector and the
introduction of markets and competition mechanisms.
-3.0 The social market model, characterised by the rise of non-governmental organisations
and consultation and coordination between organised interest groups.
-4.0 The co-creative ecosystem model, characterised by the rise of the fourth sector, aims to
create platforms and spaces for cross-sectoral innovation, involving all stakeholders.
Our second aim is to create a 4.0 model of a co-creative ecosystem model from an individual,
organisational, social and relational perspective. The authors of the last four chapters give many
examples of groups, organisations and systems that take us towards this model.
Chapter Highlights Summary
UNIT1
In the first chapter, the authors suggest that we have entered an era of disruption, with new
challenges for individuals, institutions, and societies that require us to abandon our habitual ways
of coping and invite us to perceive and realise the emerging possibilities of the future.
Three types of separation are proposed here: ecological watersheds, social watersheds, and
self-watersheds.
-When there is a separation between man and nature, problems of water, soil, climate and
ecosystems emerge.
-When people are separated from each other, the socio-economic divide widens, the
polarisation between rich and poor becomes severe, and the problems of hunger, poverty and
income inequality exacerbate the social divide.
-As we become separated from ourselves, the happiness of individuals decreases and more
and more people suffer from burnout, depression and suicide.
The problem of our time is that the loss of individual sense of meaning in life and work is
being compensated for by material consumption, which in turn increases the consumption of
natural resources. The depletion and pollution of natural resources is shifting from the developed
to the developing world, further deepening the social divide. That is, inner emptiness →
consumerism → ecological fragmentation → social fragmentation. If we fail to reflect on this
status quo, we will be trapped in old patterns and thus enter into a cycle of denial, deception and
destruction.
UNIT2
In Chapter 2, the author outlines eight major problems that afflict the collective social
subject:Ecological disconnection, disconnected income and wealth, financial disconnection,
disconnected technology, disconnected leadership, disconnected consumption, disconnected
governance, and disconnected ownership.
What they all have in common is that they embody a system structure that is not designed for
learning, that is not aware of externalities, that promotes the wrong flow of money and that allows
special interests to manipulate the system. Based on this, the authors propose that we should move
towards a society organised around emerging wholes, creating platforms for cross-sectoral
collaboration and enabling change agents to come together to drive sustainable development. In
the 21st century, however, this vision has encountered the following problems: the further
fragmentation of social subsystems while generating their own forms of self-organisation; the
emergence of a business subsystem that dominates and interferes with other sectors in many
countries; and the lack of effective platforms that allow all stakeholders to focus on driving
innovation at the scale of the system as a whole.
UNIT3
In Chapter 3, the authors suggest that we are caught between two worlds, in addition to the
one challenged by the new leadership, and the world trapped in the old economic and management
tools, between which a great abyss exists. If a change in the economic matrix is to be achieved,
then the following eight elements cannot be ignored: nature, labour, capital, technology, leadership,
consumption, coordination, ownership (which define the core of any economic system).
UNIT 4
In Chapter 4, the author considers the relationship between the spiritual and the material. He
argues that the 20th century lacks a core cultural idea that unifies society and life, and that society
is increasingly moving into a materialism driven by technology and money. We therefore need to
overcome the leverage point of the spiritual-material split and analyse the sources of the self. So
how can this be done? Answers will be provided in later chapters.
UNIT5
In Chapter 5, the author argues from the perspective of the inverted individual that we need
to have a sense of service to the well-being of the whole, or that we need to have a sense of
leadership as individuals, exploring how to move from being a better ‘I’ to a better ‘we’. From the
perspective of listening, the authors suggest four types of listening: habitual (projecting old
judgements), factual (observing the objective world), empathic (seeing oneself through the eyes of
others) and generative (listening to the whole and to new things that emerge to further reflect on
the deeper sources of the self). And to achieve the fourth level of listening, several conditions are
required: first, a turning of attention to the source of the problem. Secondly, a space of social
accommodation formed by authentic listening from the heart. Third, the courage to go to the edge
of the abyss, to let go or lean into the unknown. The author cites the story of the Berlin
Masterclass, among others, and ultimately sums up for us twelve principles:
-Practice, not preach.
-Observation.
-Connecting with intention as a tool
-When the cracks open, stay connected to it and act
-Follow your heart: do what you love and love what you do
-Always be in dialogue with the universe and the larger context around you
-Create a deep listening space that supports you
-Iterate (practice and adapt to new situations)
-Cracking in the future field (exploring the edges of self and system)
-Showing different language to different stakeholders
-If you want to change others, change yourself first and be open-minded
-Never give up and be resilient
UNIT6
In Chapter 6, the authors reflect on how one of the biggest challenges we face in moving
towards an eco-economic system is how to act collectively in a conscious, effective and
co-creative way, from the perspective of relational inversions. We tend to experience three types of
reality avoidance: denial, cynicism and frustration. How do you deal with these three types of
avoidance? That is, self-reflection and dialogue, and turning our attention to ourselves. Three
types of dialogue are outlined here: one is single communication with the aim of manipulation.
The second is bilateral discussion, where the aim is to exchange views and recycle information.
The third is stakeholder communication, such as reflection, learning and dialogue, to see ourselves
through the eyes of others. Fourth is multilateral collective creative ecosystem dialogue, which
advocates a shift in consciousness from self to ecosystem and helps the participation of different
groups to create the future together. The author gives us examples such as ACPC Climate Change
to illustrate this.
UNIT 7
In Chapter 7, the authors take us to the perspective of system flipping and take us towards an
eco-economic system. Firstly, fostering co-creative relationships between stakeholders is at the
heart of the new model of ecosystem organisation. And here, four main logics of institutional
power and organisation are introduced: 1.0 centralised organisational structures with top-down
hierarchies. 2.0 decentralisation, where power moves from the periphery to the actual work, with
more space for markets and competition, but no one regulating the space between units. 3.0
networking, where structures are flattened and organisations are homogenised. Stakeholders are
introduced, but there is the emergence of vested interest groups working together for private gain.
Finally there is 4.0, where the source of power shifts to co-creative relationships between
individuals and institutions throughout the ecosystem. At this point the human motivation comes
not only from the I in the particular ecosystem, but also from the self as a whole (the I of the I
species).
In order to create a fourth cross-sectoral platform, the following key principles should be
embodied: openness, transparency, sharing, intention, reserved space, dialogue, awareness,
commons, playfulness, diversity and symbiosis. In summary, drawing on examples from key
systems and sectors of society, it is shown that the leadership challenge and the journey of
transformation in different contexts is the same: reversing the social field in order to foster
co-creative relationships.
UNIT 8
Finally, in Chapter 8, we look at the present from the perspective of leading a new kind of
future and find that eight more points of closure exist between the spiritual and the material:
nature, labour, capital, technology, leadership, consumption, coordination, and ownership. This
book therefore argues for the creation of a global school of leadership, where science, society and
self-evolution become the main framework for action research based on self-awareness. In other
words, we need a space that accommodates, firstly, the application of advanced scientific methods.
Secondly, the transformation of society into 4.0. Thirdly, the shift from individual and organismic
self-systems to ecosystemic consciousness. Using MIT’s U.school 4.0 as an example, universities
need to provide these seven elements if students are to become drivers of profound social
innovation: global classrooms. In-depth exploration of inspiring local, regional and global
innovation hotspots. Awareness-based leadership techniques. Presenting coaching circles. Action
learning. Innovation hubs. Personalised lifelong learning journeys.

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