Trial By Word

I only learned this week, (too late! too late?) that All Souls, the graduate college at Oxford University, for over a century used a very particular entry exam, the hardest exam in the world, apparently. Each year only a handful of the brightest Oxford graduates were picked to sit this exam and often only one was successful in passing the test.

I learned that the test was scrapped in May 2010 because it was ‘too difficult’ (to undergo or to examine?). It seems, even the greatest minds of our age quake at the remembrance of it.  It was an initiation test, a trial by word. Many simply couldn’t manage the One-Word Essay Question.

Candidates were required to open an envelope inside of which was a card with a single word – such as ‘innocence’ or ‘morality’ – and they were asked to write coherently about the subject for three hours. Three hours! Most business writers are lucky to get 30 minutes to file a ‘coherent’ report, prepare ‘coherent’ copy or (God forbid) write the weekly blog, ‘coherently’!

The One-Word Essay Question was scrapped because the head of All Souls, Sir John Vickers, a former member of the Bank of England monetary policy committee said that the essay had ‘not proved useful’ as a test of the qualities for admission namely, the ‘exceptional analytical ability, breadth and depth of knowledge, independent-mindedness and clarity of thought and expression.’

I guess not. Perhaps because the One-Word Essay Question is meant to reveal in the candidates (and examiners?) a sense of connectedness, an ability to see the whole instead of the sum of its parts, a talent for adding one plus one and finding the answer to be eleven, not two, a joy in the faces of conundrum, paradox, ambiguity and uncertainty. Perhaps the test demonstrated that the Oxford graduates didn’t know their own minds and therefore could not show their degree of independence or dependence on others.

The One-Word Essay Question is a test of character, personality, spontaneity, imagination and creativity.  It was a test my mother set me once, a long time ago, when during one very long and hot summer holiday I complained that I was bored because all of my friends had gone off to summer camp to learn survival skills, team spirit and be eaten alive by mosquitoes, black fly and perhaps a black bear. Canadian summertime and the livin’ was not easy.  For me, it was unpredictable and boring, all at the same time.

Cruel thing.  I tried to turn her test into a game, but she wouldn’t play, wouldn’t compete.  She liked to keep her thoughts to herself. Instead of the envelope, she made me lug the heavy tome of Webster’s Encyclopaedia off the top of the piano and place it on her lap. Then she took her long dagger-like nail file and plunged it into the heart of its yellowing, tissue paper pages. I feared she would tear the heart out of it, but she didn’t.  She ran her red-enameled index fingernail down the columns until she found a word suitable to my mood and her capricious temper. ‘Queue’. She gave me three hours to think about it.

* * *

This week, I spent Thursday morning at a very cold and blustery but, thankfully, not rainy Farnborough aerodrome, at the Wind Tunnels. I queued, along with a few thousand other stalwarts, for the filming of a British institution – the BBC’s Antique’s Roadshow. The Brit’s are renowned for their love of queueing. I don’t suppose they actually love it but are acculturated to it. A patient, polite, considerate, sense of fair play, wait your turn, the meek shall inherit the earth kind of culture. Canadians, I am told have it too.  It’s the kind of culture that lets you stand, shuffle and eventually get to the head of a snaking queue two hours after you started at its tail. A friend and I clutched our goodies like everyone else. Bags, suitcases, bubble wrap and tissue enveloped celebrity and punter alike in their quests for ‘treasure’. Questions queued too, waiting hopefully for their answers. “What have you brought?” Then, once presented on the alter of the expert, “What have I got? Am I rich, or do I have something priceless?”

* * *

The summer sun of late afternoon dragged itself down to linger behind the trees.  Five o’clock. Three hours earlier I had printed at the top of a blank sheet of paper the word ‘Queue’ and this was as far as I got in my answer to the one-word essay question:

A

sentence

is

one

word

following

another.

An

idea

is

a

trail

of

thoughts

snaking

in

a

queue.

Stay

small

in

your

approach

and

attitude,

but

by

linking,

small

things

grow

into

a

bigger

one.

I flung my pencil down. “Ma. When will I be done? I give up. No more!”

She took a slow drag on her cigarette, a sip from her whisky, the melting ice still offered a warning clink. “Darling, life’s just one damn thing after another.”

Provocations, it seems, come from the damnedest places and they sure can take their time reaching me, but when they do, I can make the connection. Thanks, Ma.

“Hell is a place where nothing connects with nothing.” 

- T. S. Eliot, Introduction to Dante’s Inferno.

Photo credits: copyright 2012; The Secret Archaeologist.

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Truth, Goodness and Beauty

Business Ethics and Business Aesthetics

Truth, Goodness and Beauty are three shining ideals.  Truth is genuine.  Goodness is decent.  But Beauty makes our hearts leap.

Business Ethics

Beauty In Business - Not your average florist

Ethics are moral guides for governing our ideals of ‘truth’, ‘goodness’ and even ’beauty’. Business ethics ensure we practice what is widely regarded as ‘good’ business, that is, socially responsible business, however, how many times has Business hit the headlines for acts that though they may not be illegal they are neither truthful nor good? (A lack of beauty rarely hits the business headlines.) Corporations are considered particularly ‘bad’, but unethical behaviour can happen in any business. The ideals of Truth, Goodness and even Beauty are at the heart of business leadership, decision making and action.

Story-telling in business is a beautiful way to remind ourselves of what our society deems to be ideal behaviour because stories always have a ‘moral’ in their tale.  That’s their purpose, to show us the social consequences of the hero’s decisions and choices and to make their impact on others immediately apparent. Stories challenge us to explore our own behaviour for evidence of morality.

Business ethics

Echo and Narcissus

Story-telling happens not only in literature. The same stories appear in paintings, music, plays and film. For example, here is a painting by John William Waterhouse.  In it he portrays the Greek myth of Echo and Narcissus.  The unhappy nymph, Echo, fell in love with the beautiful but immature and self-absorbed Narcissus, who rejected her. In consequence of her folly, the gods condemned her to repeat the last words spoken to her. In consequence of his, the gods trapped Narcissus by the sight of his own beauty.  The ‘lessons’ of the story are balanced and evenly distributed between both characters.

Whether or not the gods are involved in the business world, these ‘punishments’ are common outcomes of everyday actions and behaviours. What would happen if we did not recognise our folly of ill-considered attachment and dependence, let go and move on? We would be doomed to repeat our mistakes.  Ever heard the echos of old words in so-called ‘new’ business plans?  What would happen if we refused to accept another’s attention? We would drown in blinkered self-absorption and vanity.  Do you ignore your customers’ and colleagues’ feedback?

However simple are the stories told, they are never black or white.  There are no ‘right’ or ‘wrong’ answers.  Morality tales are full of colour and nuance and require us to make critical judgements about what we believe.  Just as in real business life.

“Look, don’t scan, and the colours will emerge.”

- David Hockney

Business Aesthetics

business aesthetics

Julian Stanczak - OpArt

Modern Art of the 20th century took a stance against the ‘tyranny of morality’.  It seems that ‘Modern Business’ did too.

Some of that art and architecture looks dated from a 21st century perspective. Some of it is affectation, but actually most of it came from deep universal human morality. Even at its most alienating there is the expression of a very human artist.  Artists, composers, novelists, playwrights cannot help themselves but tell a moral tale, especially the most anti-establishment of les enfants terrible.

Post-modern art is adjusting itself to rediscover a moral compass, lost perhaps during a nihilistic, ‘modern’ age.  So must post-modern Business.  Actions have consequences and doing ‘the right thing’ is the basis of every ethical business.

The Arts continue to challenge us to explore our personal morality as well as our corporate ethics. In the ‘real’ world, the consequences of our actions may arise way off into the future, a long time after we have left our jobs and stopped leading our companies, but in the world of The Arts, they stand before you, here and now.

Here’s a video of Julian Stanczak.  He takes the notions of ‘black and white’ and ‘straight and narrow’ and asks many ethical questions.

Photo credits: Liverpool Museums, Walker Art Gallery; ‘Echo and Narcissus’; John William Waterhouse; 1903; oil on canvas; 109.2 x 189.2cm.  http://www.liverpoolmuseums.org.uk/walker/collections/20c/waterhouse.aspx

Julian Stanczak; Image Credit Flickr; http://www.julianstanczak.net/index.html

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Do you make love at work?

Sometimes with power & passion

‘Making love’ is what we call the act of creation.  So, do you?  Do you create anything at work?  Artists do, every day – sometimes with power and passion, sometimes with just a smile.  They follow a creative process and produce paintings, music, poetry, prose, plays. They make works of art, works of love.

Sometimes with just a smile

John Simmons‘ blog, Hope, reminded me of a conversation I had a few years ago with some of Revlon’s supply chain managers.  We were supposed to be talking about ‘customer value propositions’.  Boring! (And we know what boring does for creativity and love-making!) So we started to talk about the difference between ‘buying’ and ‘selling’ and then they told me a story.

Charles Revson was the founder of Revlon, in the 1930s.  At a sales meeting he asked his sales guys and gals what their customers were buying. “Lipstick! Blusher! Eyeliner!”, came the response. “No,” he said. “That’s what we make. Our customers are buying Hope and Hope should be what you’re selling.”

At the time of the conference (1960s) and even at the time of my workshop (late 1990s), Charles Revson was vilified for being sexist and patronising. But when you consider that Revson developed his first product, nail enamel, during the Great Depression, it makes sense. Making the effort to have beautiful nails, especially when her world is crumbling around her, is a woman’s bold statement of Hope over Despair.  Charles Revson had an intimate understanding of what his customers (and his country) needed at the time – a way to believe that things would get better.

Skin Deep

Cosmetics are considered a superficial kind of beauty and easily cut from a household (or business) budget.  But whether paint is on a canvas or on a body, the effect of an aesthetic experience on our psyches (both female and male), and on our ability to imagine, perform and produce should not be underestimated.

 

The Revlon story continues…  A year or two later a friend of mine, Jane P. Lewis, was heading off to Sarajevo to join a charity which helped women come to terms with loss.  The Bosnian war was declared ‘over’, but there was still much raw despair.  She gave me a ring.  ”Hey.  You know some people at Revlon.  Do you think they could give me some lippy or blusher, to cheer things up?”  I called my client who said, “Let me see.  I’ll call you back.”  Within an hour I had a call asking for Jane’s flight number because a ‘case’ would be waiting for her at the airport. Jane freaked.  ”But I’ve only got a backpack!”  The transport was sorted.  Hope springs eternal.

Knowing what someone needs, and giving it to them just when they need it, is the best kind of love making.

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Photo credits: Japanese Djin, copyright 2012, Stewart McFarland, ; Mona Lisa, Wikimedia Commons; Splash, stock photo; Lippy, stock photo.

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