Come Together...for what?

7212019 Come Togetherfor what

httpslidepdfcomreaderfullcome-togetherfor-what 124



nothing really makes senserdquo (p435) The new technology makes itincreasingly possible to follow our every move through the internet CCTVsatellites and other means The dramatic news about climate changeterrorism the abuses of power and rampant inequality coupled with ourseeming inability to make sense of them means the Future Shock discussedby Alvin Toffler (Toffler 1984) several decades ago is upon us Tofflerrsquos FutureShock was a play on the term Culture Shock the future is as disorienting andshocking as being in a foreign country where the most taken for grantedthings are done diff erently disorientingly weirdly in a way that is just nothellipnormal and the world truly doesnrsquot seem to make sense

The sociologist Zygmunt Bauman writes that modernity has gone from beingldquosolidrdquo to ldquoliquidrdquo everything is 1047298uid and changing there is no predictabilityno certainty no stability and human beings have to become 1047298exibleadaptable capable of working under conditions of great uncertainty (Bauman2005 2007 2008) The US army describes the present world with theacronym VUCA Volatile Uncertain Complex Ambiguous In the businessworld the acronym FUD is used to describe a condition of Fear Uncertaintyand Doubt (Winograd and Hais 2011) In this complex 1047298uid uncertaininterregnum Sardar argues that creativity and imagination are essential to

address the ldquocomplexity contradictions and chaosrdquo of postnormal times

Imagination is the main tool indeed we would suggest the only toolwhich takes us from simple reasoned analysis to higher synthesis While

imagination is intangible it creates and shapes our reality while a mental tool it aff ects our behavior and expectations We will have to imagine our way out of the postnormal times The kind of futures we imagine beyond postnormal times would depend on the quality of our imagination Given that our imagination is embedded and limited to our own culture we will have to unleash a broad spectrum of imaginations from the rich diversity

of human cultures and multiple ways of imagining alternatives toconventional orthodox ways of being and doing (p435)

For Sardar imagination and its broader umbrella creativity are essential ldquotoimagine our way out of the postnormal timesrdquo As the old ways of thinkingand doing are failing creativity is as a vital resource to envision and developalternatives whether technological economic or social Creativity has gonefrom being a fascinating marginal odd and inexplicable phenomenon to

48 JANUARY-MARCH 2014



becoming the engine of social change and transformation It has becomecentral in the transition from an Industrial-Machine worldview to a newworld as yet unarticulated But creativity itself is changing dramaticallyWhereas 20 years ago the lone genius was still the iconic model of creativitytoday creativity is viewed increasingly as a relational collaborativeeverydayeveryoneeverywhere process that is not limited to the arts andsciences and the ldquobig ideardquo The change in creativity is both driven by and inturn itself drives social trends and social change

Two key aspects of the old worldview are what wersquoll call the ldquoHobbesianMachinesrdquo This is a combination of the NewtonianCartesian MachineClockwork Industrial view of the world (Capra 1984 Russell 1983 Scott1997 Toulmin 1992) with an assumption that the world is fundamentallyshaped by a hierarchy of ruthless competition and a mentality of us againstthem Hobbesrsquos ldquoHomo homini lupusrdquo (men are as wolves to each other)(Eisler 1987 Montuori 1989 Rifkin 2009 Slater 1991 2008) Thiscombines to make what Slater calls a ldquoControl Culturerdquo and Eisler has calleda Dominator culture (Eisler 1987 Slater 2008) An alternative to this view isthat the Universe is fundamentally a creative process (Ceruti 2008 Davies1989 Kaufman 2004 Peat 2000 2002 Swimme and Tucker 2011) and

that human beings canmdashalthough are by no means determined tomdashdevelopcollaborative or ldquopartnershiprdquo win-win relations

Edgar Morin has argued that what is needed now is a thought that is radical by which he means a thought that goes to the roots of our assumptions andissues and a thought that connects and distinguishes rather than one thatseparates and fragments (Morin and Kern 1999) In transitional time suchas ours we believe that it is necessary to follow his advice and step back andlook at the big picture to situate ourselves in space and time We need to beable to understand the forces that shaped our old worldview and how it

informed our choices We need to understand where we have come fromand how we have been shaped by our times in order to move toward adiff erent future In this paper we trace the evolution of creativity andleadership and we explore how and why they have changed in the emergingnetworked society We describe these changes and then we conclude with abrief discussion of how creativity and leadership might address some of themore problematic aspects of recent developments

49East-West A ff airs



Historical RootsIn the West the concept of creativity as we know it today emerged in the 15thcentury during the Renaissance (Tonelli 1973) It coincided with the birth of humanism and individualism (Wittkower 1973) and a reaction againsttheocracy It blossomed with the Genius myth of Romanticism in the late18th century (Goehr 1992) Until the 1980s research on creativity in the Westwas situated mostly in the discipline of Psychology It focused primarily onwhat were known as the three Ps Person Process and Product (Runco2007) In the romantic mythology underlying this atomistic individualisticview the creative person was mostly a lone often eccentric genius (Montuoriand Purser 1995) The unit of analysis was almost exclusively the exceptionalor ldquoeminentrdquo individual (Glaveanu 2010)

The ldquohowrdquo of creativity occurred exclusively ldquoinsiderdquo this individual thecreative person The classic image of the creative process was of a light bulbgoing on over the creatorrsquos head during the ldquoEurekardquo moment The creativeprocess was viewed as a solitary one at 1047297rst with mystical or divine sourcesand then increasingly associated with unusual mental states andpsychopathology (Andreasen 2006) The ldquowhatrdquo or creative product wasassociated with ldquobig bangrdquo earthshaking insights and products (A Montuori

and R Purser 1999 Runco 2004 2007) The ldquowhererdquo of creativity wascon1047297ned to speci1047297c domains almost entirely in the arts and sciences We cansee this in the great traditional exemplars of creativity almost entirely maleand almost entirely made up of artists and scientists such as Van GoghEinstein Mozart and Feynman (Barron et al 1997)

The Changing Face of Creativity and LeadershipAt the beginning of the 21st century the way we understand practice andexpress our creativity is changing These new developments are in turnin1047298uencing how society is changing (Montuori and Donnelly 2013) Creativity

leads to change and change leads to creativity Three main trends involve (a)viewing creativity as a more networked collaborative process (b) as aneveryday everywhere everyone process rather than something con1047297ned toexceptional geniuses (Montuori 2011a 2013) and the articulation of creativityas a form of leadership and leadership as a form of creativity (Burns 2004Csikszentmihalyi 2004 Gardner 1995 Hooker and Csikszentmihalyi 2003Montuori 2010 Simonton 1984 Sternberg 2007)






cognitive dimensions (Northouse 2004 Pope 2005 Western 2008)Informed by such classic dualisms of Modernity as creativityconformitygeniusmasses (and of course geniusmadness) as well as leaderfollowerthis approach has been ldquoexceptionalistrdquo leaders and creators were assumedto be exceptional persons with unusual gifts in a limited number of areassuch as politics business the arts and sciences or the military A historicalreview of individuals considered great creators and leaders in the West showsa preponderance of white men while people of other ethnic and racialidentities as well as women in general are notably absent (Bordas 2007Chin et al 2007) It is only recently that the discourse has begun to integratewomen while the number of possible examples is increasing exponentiallyand Mohandas Gandhi Martin Luther King Jr Nelson Mandela andMalcolm X have become the icons of non-western non-white leadership

20th century developmentsA number of intellectual developments in the 20th century have led to athorough questioning and critique of the dominant atomistic views of leadership and creativity

bull Social constructionists have argued that what we call ldquocreativerdquo or who we

call a ldquoleaderrdquo is the result of a judgment and creativity and leadership are therefore socially constructed there is no ldquoessencerdquo of leader there is asocial judgment that labels people leaders and behaviors as ldquoleaderlyrdquo The

relationship between self and society must be viewed more relationallyand essentialist perspectives on the self (ldquoa born leaderrdquo ldquoyoursquove either got

it or you havenrsquotrdquo) are critiqued (G T Fairhurst and D Grant 2010Gergen 1994 2000 K J Gergen 2009 Kasof 1985 Mockros andCsikszentmhalyi 1999 Sampson 2008)

bull The intellectual movement loosely known as postmodernism has critiqued

the notion of the individual essentialism the ldquosubjectrdquo and the ldquoauthorrdquoas well as demonstrated the commercial and political interests embedded in the discourse of creativity and leadership (Barthes 1977 Boje Gephart and Joseph 1996 GT Fairhurst and D Grant 2010 Foucault and Rabinow 1984 Grint and Jackson 2010 Hare-Mustin and Marecek 1988 Kearney 1988 Montuori and Purser 1995 Stigliano 1999)

bull Systems and complexity approaches have stressed the importance of an




open systems perspectivemdashspeci1047297cally the interactions between individualand societymdashand the role of context They have highlighted the ldquoself-organizationrdquo of natural and social phenomena with a bottom-up distributed

rather than top-down approach and thus the signi1047297cance of recursive mutually causal interactions with implications for both creativity and leadership (Borgo 2006 Brafman and Beckstron 2008 Contractor 1999 Johnson 2001

Luhmann 2013 Montuori 2011c Morin 2008 Wheatley 2006)

bull The emerging Networked Society (with the rise of social media theinternet and relatively cheap global transportation) has led to an increased

awareness of the role of interactions networks and collaborativeprocesses leading to greater openness to more relational networkedunderstandings of agency and the unit of analysis (W T Anderson 2001

Barabasi 2003 Brafman and Beckstron 2008 Castells 2000 Christakis and Fowler 2009 Leadbeater 2009 Nielsen 2012 Taylor 2003) This is particularly evident in the so-called ldquoMillennialrdquo generation (Pachucki

Lena and Tepper 2010 Pew 2007 Winograd and Hais 2011)

The atomistic individualistic ldquoGreat Manrdquo views of creativity and leadershipwere already problematic it is becoming clear that both creativity and

leadership were much more networked and collaborative than was originallyassumed not least because the exclusive focus on individuals did not accountfor the role and importance of interactions social contexts organizationalstructures political interests the dynamics of race class and gender and avariety of other factors (Montuori and Purser 1995)

The emerging practice and acceptance of collaborative creativity andleadership (Montuori 2011a Sawyer and DeZutter 2009) coincides with therise of the Millennials a new generation that came of age in the year 2000and that is considerably larger even than the Baby Boomers the needs of

industry for collaborative creativity in RampD and with the larger number of women as well as more people from diverse ethnic and racial identities beingable to participate in and recognized in creative and leadership roles (Eislerand Montuori 2007 Winograd and Hais 2011)

Transforming CreativityRecent scholarship has led to new ways of conceptualizing self societyproduction art science and creativity stressing the social construction of a





self embedded in relationships situated in a cultural and political context(Csikszentmihalyi 1999 K Gergen 2009 Kearney 1988 1999 Pope 2005Rosenau 1992 Sardar 1999 Stigliano 1999) In the arts andentertainments we see this in a shift to what has been called a participatoryculture which involves a blurring of boundaries between ldquoartistrdquo and audience(Jenkins 2008) The seemingly trivial example of karaoke provides a glimmerof how entertainment now involves greater and more active audienceparticipation Itrsquos not a passive audience listening to music Audiencemembers are also the performers Wikipedia is another example of theadmittedly controversial ldquowisdom of crowdsrdquo with participatory entries andediting processes Video games have users design their own series of levelsIn RampD end-user participation in the design process is increasinglybecoming the norm According to Jenkins participatory culture re1047298ects a shiftfrom individual expression to greater community involvement towardemergent bottom-up and even grassroots processes and away from thetraditional reliance on a top-down approach

Research on the psychology of creativity now includes a strong emergingfocus on everyday creativity rather than exclusively on ldquoeminent creativesrdquo andmajor contributions It is by no means limited to the arts and sciences

(Richards 2007 Runco and Richards 1997) The notion of everyday creativitysuggests creativity can occur in everyday life in less traditionally exalteddomains and does not have to take the form of a major work of art orscienti1047297c discovery This opens up the possibility of the recognition of creativity as a phenomenon that can permeate every dimension of life TheWhere of creativity is now potentially everywhere There is also an increasingrecognition of group and collaborative creativity This can be found in newresearch on innovation group creativity jazz and an increasing appreciationof ldquothe wisdom of crowdsrdquo the creative potential of ldquoopen innovationrdquo wheredifficult problems are shared with the public and useful answers emerge

(Barron 1999 Borgo 2006 Leadbeter 2009 Montuori 2003 Montuoriand Purser 1995 A Montuori and R E Purser 1999 Paulus and Nijstad2003 Schrage 1999 Surowiecki 2005)

Generational trends are becoming increasingly obvious and in1047298uentialResearch conducted in 2010 showed millennial college students associatedcreativity with everyday activities and social interactions (Pachucki et al2010) Whereas for Baby Boomers creativity is associated with ldquoeminent




creativesrdquo such as Einstein Van Gogh or individual popular artists in todayrsquosldquoparticipatoryrdquo culture (Jenkins 2008 2009) the focus is not so muchldquoeminent creativesrdquo but on participatory relational processes with peers andfamily where ldquomaking is connectingrdquo (Gauntlett 2013)

What might appear as great participation also arguably lends itself to greatmanipulation and exploitation As Douglas Rushkoff points out in hisFrontline Documentary Generation Like the movie Hunger Games has awebsite with a competition for the best most committed fan What thismeans is essentially that the fans are now using social media to promote themovie and the reward of promoting the movie through social media is beingldquo1 Fanrdquo and potentially a mention by one of the moviersquos stars This way themovie gets constant grassroots promotion and the fans gain in social statusby being ldquoretweetedrdquo or responded to by the stars of the movie whichincreases the fanrsquos peer group social status and the number of ldquolikesrdquo theyget in social media There has been a considerable shift toward a much moreinteractive participative relationship between audience and the ldquocontentprovidersrdquo Itrsquos obvious that business interests have learnt how to leveragethis for their own interest But while this is perhaps the most obviousexpression of this transition it is by no means this only one

Many of the most interesting innovations in the social sphere over the last 20years or so have been about networking participation and grassroots eff ortsThese innovations are connected to the emergence of the Internet social mediathe rise of a networked society the changing role of women the values of theMillennial generation An assortment of examples of more participatorygrassroots creativity include (and this is limited to mostly USUK examples)YouTube Etsy Facebook Wikipedia WebMed Lord of Warcraft farmersrsquomarkets artisanal foods and the Slow Food movement MySpace blogs vlogsTwitter1047298ash mobs Britainrsquos Got Talent independent music labels and movies

Garageband DIY culture including DIY education (Kamenetz 2010) YelpTripAdvisor Craigslist Dancing with the Stars American Idol and all sorts of ldquoreality televisionrdquo The phenomenon of ldquocrowdsourcingrdquo to solicit funds viasocial media has also opened up new avenues of funding for entrepreneurialactivities The emerging Makers movement is another sign (C Anderson 2012)as is Tofflerrsquos related concept of ldquoprosumerrdquo which brings together the termsproducer and consumer to illustrate how the traditional opposition between thetwo roles is becoming blurred (Toffler and Toffler 2006)




This new grassroots participation is not unproblematic as the Hunger Gamesexample illustrates Critics have also argued that there is a move towardamateurism Itrsquos not clear that the fact that art and travel critics are replacedby blogs with reviews and the comments of Trip-Advisor users is necessarilyan improvement and newspaper and magazine critics are losing their jobsAny semblance of standards and high culture any valuing of expertise andcraft is being replaced by vulgar amateurish know-nothings in this view(Carr 2010 Keen 2008) The alleged democratizing process can also be a1047298attening where traditional standards of excellence and values are all but lostThe threat of manipulation by governments and big business is ever presentand grassroots networked groups can also include terrorists and hate groups(Rushkoff 2010 2011)

Questions are now being raised as to whether what we are calling ldquoeveryoneeveryday everywhererdquo creativity will lead to a growing narcissism (and anobsession for onersquos 15 minutes of fame) a consumerist self-absorption and a1047298attening of all values that will make the ldquoMe Generationrdquo seem positivelyaltruistic (ldquoMust keep up with the latest even if itrsquos only the new operatingsystem without which none of my apps will workrdquo) or whether it can bechanneled toward worthy human aspirations At this point the jury is out

with wildly diff

erent prognostications (Carr 2010 Greenberg and Weber2008 Twenge and Campbell 2010) The question now is not so muchwhether we are creative but what are going to do with our creativity Whereand how are we going to channel it

Reinventing LeadershipLetrsquos step back now and look at leadership more closely Leadership is anestablished area of academic study with departments and degrees Theliterature on the topic is extensive confusing and often contradictory indeedKellerman has written about of the end of leadership (Kellerman 2012

Maccoby 2001 Rost 1993) As we can see its conceptual roots parallel thoseof creativity research the study of exceptional individuals

Already in 1985 Bennis and Nanus (Bennis and Nanus 1985) wrote that literallythousands of empirical investigations of leaders have been conducted in thelast seventy-1047297ve years alone but no clear and unequivocal understanding existsas to what distinguishes leaders from nonleaders and perhaps more importantwhat distinguishes eff ective leaders from ineff ective leaders (p4)




Not very much has changed in the last 25 years (Western 2008) In the sameyear a critique of leadership emerged that questioned the ldquoromancerdquo of theheroic leader (Bligh Kohles and Pillai 2011)

It appears that as observers of and participants in organizations we may havedeveloped highly romanticized heroic views of leadershipmdashwhat leaders dowhat they are able to accomplish and the general eff ects they have on our livesOne of the principal elements in this romanticized conception is the view thatleadership is a central organizational process and the premier force in thescheme of organizational events and activities It amounts to what might beconsidered a faith in the potential if not actual efficacy of those individualswho occupy elite positions of formal organizational authority (p79)

This critique of the heroic Great Man coincided with a shift out of one eraand into a new era (Montuori 1989 Montuori and Conti 1993 Morin andKern 1999 Sardar 2010 Slater 2008) In this transitional postnormalperiod we see the demise of one guiding model of leadership and the birthof new forms of leadership (Wren 2007)

For our purposes we begin our discussion of leadership very simply by

asking who can be a leader A brief review of the history of the worldrsquos greatleaders shows that widely recognized celebrated as well as despised leadershave been overwhelmingly male representatives of the dominant cultureembodying characteristics that can be summarized (but are of course notlimited to) the ldquoheroicrdquo model It is becoming increasingly apparent thatleaders are now emerging from traditionally underrepresented groups suchas women and minorities US President Obama is perhaps the most dramaticcase in point In the global ldquosocial imaginaryrdquo there is now an African-American President of the United States This does not mean that leadershipopportunities have opened up for one and all but it does signal the beginning

of a shift toward greater openness toward traditionally under-representedgroups in leadership roles

The shift in the ldquowhordquo of leadership extends in other areas it is not con1047297nedto the position of arguably the most powerful man in the world As anexample the Goldman Environmental Prize is handed out every year in SanFrancisco to individuals described as ldquograssroots environmentalistsrdquo from allover the world who have made a considerable and often courageous




contribution to protecting the environment The winners are not individualswho strike one as ldquoheroic leadersrdquo in the dramatic mold of a General PattonThey are not great warlike leaders orchestrating armies of soldiers orengineering corporate takeovers They are ordinary men and women whoprove they are also quite extra-ordinary when circumstances require

While not traditional in how they view and present themselves theseindividuals are heroic in the sense that they regularly take on multinationalsor governments or both often at great personal risk They are involved instruggles against deforestation privatization of water supplies and otherprojects that aff ect the well-being of their communities or involve thedestruction of nature One of these leaders and Goldman Prize recipientsKen Saro-Wiwa of Nigeria was hanged by a corrupt government on trumpedup charges because his work put multi-million dollar deals at risk TheGoldman Prize winners are not individuals who had ambitions to be CEOsgenerals or elected officials They did not see themselves in the traditionalmold as ldquoleaders of menrdquo They simply responded passionately andthoughtfully to what they perceived to be an injustice They felt they had todo something beyond their own personal survival and well-being Theyalmost fell into being leaders because they felt they had to develop a coalition

of people to1047297

ght injustice

The message is clear The ldquowhordquo of leadership has changed if leadership isabout making a contribution to the global transition making a contributionby taking the initiative then the 1047297eld is wide open And as members of traditionally underrepresented groups become leaders we can safely say thatthe concept of leadership will be irrigated by new streams of values creativityand cultures new perspectives and potentials Eventually it should not be thecase that now underrepresented groups may also join the existing leadershipclub and play the game The very de1047297nition of leadership the rules of game

themselves will be changed and they are already changing

The ldquowhordquo of leadership also ties in directly with a central postmodernconcern self-creation (McCracken 2008) The assumption is not thatleadership is a 1047297xed characteristic one either has or doesnrsquot have In an era of transition there are few certainties and great opportunities for creativity Weare not bound by 1047297xed roles or destinies It is possible to create oneself as aperson and as a leader The new leadership does not assume one has to be a




leader all the time Leadership is also increasingly viewed as heterarchicalbased on aptitude for a particular context task and situation

Creativity researchers diff erentiate between big ldquoCrdquo creativity and little ldquocrdquocreativitymdasheminent and everyday creativity (Runco 2007) It seems that thenotion of big ldquoLrdquo leadership and little ldquolrdquo leadership might off er a startingpoint to diff erentiate between say the President of The United States whoserole is formal and 1047297xed and viewed as a central symbol of leadership for anentire country and the everyday ldquoleaderlyrdquo activities of individuals engagedin social change movements organizations or daily activities who may stepin and out of leadership activities in a more heterarchical mode

Tribes and FactoriesA signi1047297cant and underlying tension in the study of both leadership andcreativity lies in two opposing perspectives with two diff erent and opposingunits of analysis In the philosophy of social science these perspectives areknown as atomism and holism (Fay 1996) In the study of leadershipatomism is articulated by Carlyle with the great man theory focusing on theindividual (at the exclusion of social factors) and holism is articulated byTolstoy with the forces of history and society the individual simply a

representative of these forces (Wren 1995) In creativity these opposingperspectives are represented in the dominant research discipline psychologyfocused on the creative person and the related sociological perspectivefocused on the role of social factors and the overall zeitgeist with both of theseperspectives viewing the otherrsquos focus as epiphenomenal (Simonton 1999)

Ogilvy has addressed this issue repeatedly and convincingly in his articulation of a radically pluralist social philosophy of Some (Ogilvy 1977 2002) His argumenttoo complex to summarize here with anything but a sketch involves taking bothindividualism and collectivism to their dialectical extremes and showing the extent

to which both are human-made distinctions that arise in opposition to each otherand therefore do not recognize the extent to which on the one hand individualsexist in and because of a social context and collectivities exist as collections of moreor less organized individuals The social philosophy of Some proposes a radicalintrapsychic interpersonal and social pluralism that is not bound by 1047297xeddisjunctive separation with a logic of eitheror but it is a more 1047298uid complexprocess that recognizes the ongoing interconnectedness and interdependence of these terms and their expression in human thought and action




Seth Godinrsquos popular Tribes provides us with two useful images that can orientus to the emerging understanding of leadership (Godin 2009) His argumentis that we are moving out of the age of the Factory and are now in an age of Tribes ldquoA triberdquo he writes ldquois a group of people connected to one anotherconnected to a leader and connected to an ideardquo (p1) The term tribe mightstrike one as amorphous as ldquopre-modernrdquo as the word ldquofactoryrdquo seemsquintessentially ldquomodernrdquo The crucial diff erence now is in the wordldquoconnectedrdquo The new social media have connected individuals all across theglobe Whereas in pre-modern times a tribe was a local phenomenon stronglyde1047297ned by physical proximity it is now possible to be part of a planetarytribemdashwhether fans of some obscure indie band coming together to supportearthquake victims in Abruzzo or in the shadow side of this phenomenonorganizations like Al-Qaida and the Aryan Brotherhood Tribes can emergeand disappear the search for Malaysian MH370 has involved a ldquotriberdquo of individuals scanning regularly updated images of the Paci1047297c Ocean on theircomputers for traces of wreckage The operations of Wikipedia can be saidto be performed by a tribe devoted to writing assessing and correctingentries And tribes are not only the most important new form of socialorganization and social change they also drastically change the who whatwhere and how of leadership For our purposes we might think of Tribes as

a pointer toward Ogilvyrsquos pluralist philosophy of Some

Factories are large hierarchical unwieldy in1047298exible and generally not proneto innovation In a factory leadership is con1047297ned to a few Command andcontrol are the central features of leadership in factories Factories are likearmies The US army defeated the Iraqi army in a matter of days but that washardly ldquoMission Accomplishedrdquo The awkward fact of course was that Iraq hadnothing to do with 911 It is far from clear what exactly the accomplishedldquomissionrdquo was and there was much ldquomission creeprdquo in attempts to reframejustify and rationalize an invasion that re1047298ected a mindset rooted in a diff erent

age The assumption was that a nation is attacked which is an act of war andthis can only be done by another nation This requires retaliation against thatnation There is a logic and a clarity and a simplicity here In postnormal timesa distributed network of terrorists living all over the world cannot be defeatedby an army in a head-on battle1047297eld confrontation It is not a hostile nation inthe traditional sense The 77 bombers in London lived in England and the911 bombers lived in the US They were ldquoa group of people connected to oneanother connected to a leader and connected to an ideardquo




Tribes are networked 1047298exible and heterarchical allowing leadership toemerge in a plurality of sources (Ogilvy 1989 Taylor 2003) In fact if inthe Modern factory world there was a focus on one leader for each systemand subsystem in the world of Tribes everybody can be a leader and thatis Godinrsquos point The democratization of leadership is becoming anincreasingly mainstream perspective Nye sums up the new view (Nye 2008)

Almost anyone can become a leader Leadership can be learned It dependson nurture as well as nature Leadership can exist at any level with or withoutformal authority Most people are both leaders and followers They ldquolead fromthe middlerdquo (p147)

This is a far cry from the heroic ldquogreat manrdquo leadership picture the captain of industry Jack Welch General Patton Napoleon and the classic 1047297guresassociated with leadership or even the rather nerdier but no less commanding1047297gures of Bill Gates and Steve Jobs with their devoted followers What seemsclear though is the shift in both leadership and creativity from a Great Manmodel to ldquoeveryday everywhere everyonerdquo with a new emphasis on the role of followers and even ldquoleaderlessrdquo organizations (Brafman and Beckstrom 2006Meindl 1995 Riggio Chaleff and Lipman-Blumen 2008) More distributed

models of leadership drawing as is the case in creativity research from a varietyof sources including complexity and chaos theories and the recent study of swarms are beginning to provide alternative models that recognize thecentrality of collaborative creativity (Rolling 2013)

Concluding Re1047298ectionsWe live in postnormal times An old world is dying and a new one has yet toemerge Creativity and imagination are necessary to envision the new worldto invent and articulate alternatives to the old world Creativity is leading usinto this new worldmdashit is the way we conceive of alternatives This means

that creativity at this particular point in time requires more responsibility thanever before Creators are leaders We have seen how new trends suggest thatcreativity is now becoming more relational and more focused on everydayeveryone everywhere phenomena This makes sense alternatives are beingarticulated and developed collaboratively by tribes by ldquosomerdquo people all overthe world in every aspect of their lives Generative participatory processesare becoming increasingly popular People are learning to work togetheracross diff erences to develop creative solutions to old problems Very often




these problems were themselves once solutions but the solutions havebecome the problem

The new creativity and leadership are diff erent from the old in a number of ways as we have suggested But these changes while in and of themselvesinteresting and suggestive are not enough If we are to move through thesepostnormal times toward a new world we need to be aware of the rootsbranches and fruits of the ldquoold worldrdquo and present alternatives to them

We conclude with a brief sketch of some of the larger issues A postnormalera is the result of the exhaustion of the ldquoold paradigmrdquo or of the worldviewof Modernity This exhaustion is visible in a number of areas As we pointedout earlier we can see that many of the solutions off ered by Modernity mostlyhaving to do with controlling the natural environment have now themselvesbecome the problem As Ogilvy suggested the ldquoalien environmentrdquo we mustnow confront is not as it once was the natural environment but rathertechnology and politics (Ogilvy 1977) What we need to confront is not ldquooutthererdquo so much as our own creations and our own ways of thinking feelingand being institutionalized and made ldquorealrdquo

The shift to this emerging worldview will very much depend as Sardarstresses on creativity and imagination and speci1047297cally how what wereperceived to be zero-sum relations in the old worldview can be turned intowin-win relations How con1047298ict and diff erence can in other words bemediated leveraged and perhaps even transcended by creativity Fosteringand drawing on creativity everywhere everyday from everyone will not bean easy or fast process but this kind of networked ldquoopen sourcerdquo creativityseems essential to go beyond the limitations of ldquoHobbes and the Machinerdquo

Given the urgency of global problems the task seems daunting at best But

we are suggesting that the new global networked creativity channeled intocollective problem-solving and the generation of alternatives can also provideus with remarkable potentials and opportunities that were unimaginable amere 20 years ago (Montuori 2013 Montuori and Purser 1996) Life maynever be ldquonormalrdquo again but if that is a result of losing the shackles of ldquoHobbesand the Machinerdquo we may actually have something to look forward to




REFERENCES

C Anderson Makers The New Industrial Revolution (New York Random House 2012)

W T Anderson All Connected Now Life in the First Global Civilization (Boulder COWestview Press 2001)

N C Andreasen The Creative Brain The Science of Genius (New York Plume 2006)

A Barabasi Linked How Everything is Connected to Everything Else and What It Means For Business Science and Everyday Life (New York Plume 2003)

F Barron ldquoAll creation is a collaborationrdquo in Social Creativity edited by A Montuori and R

Purser (Cresskill NJ Hampton 1999) Vol 1 pp 49ndash60

F Barron A Montuori and A Barron (Eds) Creators on Creating Awakening and Cultivating the Imaginative Mind (New York TarcherPutnam 1997)

R Barthes Image-Music-Text (London UK Fontana 1977)

Z Bauman Liquid Life (London UK Polity Press 2005)

Z Bauman Liquid Times Living in an Age of Uncertainty (London UK Polity Press 2007)

Z Bauman The Art of Life (London UK Polity Press 2008)

W Bennis and B Nanus Leaders The Strategies for Taking Charge (New York Harper 1985)

M C Bligh J C Kohles and R Pillai ldquoRomancing leadership Past present and futurerdquoThe Leadership Quarterly 22 (2011) 1058ndash1077

D Boje D Gephart and T Joseph (Eds)Postmodernism and Organization Theory (NewburyPark CA Sage 1996)

J Bordas Salsa Soul and Spirit Leadership for a Multicultural Age (San Francisco CABerrett-Koehler 2007)

D Borgo Sync or Swarm Improvising Music in a Complex Age (London UK Continuum 2006)

O Brafman and R A Beckstrom The Star 1047297sh and the Spider The Unstoppable Power of Leaderless Organizations (New York Penguin 2006)

O Brafman and R A Beckstron The Star 1047297sh and the Spider The Unstoppable Power of Leaderless Organizations (New York Portfolio Trade 2008)

J M Burns Transforming Leadership The Pursuit of Happiness (New York Grove 2004)




F Capra The Turning Point Science Society and the Rising Culture (New York Bantam 1984)

N Carr The Shallows What the Internet is Doing to Our Brains (New York W W Norton 2010)

M Castells The Rise of the Network Society Vol 1 The Information Age Economy Society and Culture (New York Wiley-Blackwell 2000)

M Castells Networks of Outrage and Hope Social Movements in the Internet Age (Malden MAPolity Press 2012)

M Ceruti Evolution Without Foundations (Cresskill NJ Hampton Press 2008)

J L Chin B Lott J K Rice and J Sanchez-Hucles (Eds) Women and Leadership

Transforming Visions and Diverse Voices (Malden MA Blackwell Publishing 2007)

N A Christakis and J H Fowler Connected The Surprising Power of Our Social Networks and How They Shape Our Lives 1st ed (New York Little Brown and Co 2009)

N S Contractor ldquoSelf-organizing systems research in the social sciences Reconciling themetaphors and the modelsrdquo Management Communication Quarterly 13(1999) 154ndash166

M Csikszentmihalyi ldquoA systems perspective on creativityrdquo in Handbook of creativity editedby R Sternberg (Cambridge Cambridge University Press 1999) pp 313ndash335

M Csikszentmihalyi Good Business Leadership Flow and the Making of Meaning (New York

Penguin 2004)

P Davies The Cosmic Blueprint New Discoveries in Natures Creative Ability to Order theUniverse (New York Simon and Schuster 1989)

R Eisler The Chalice and the Blade (San Francisco CA Harper Collins 1987)

R Eisler and A MontuorirdquoCreativity society and the hidden subtext of gender A newcontextualized approachrdquo World Futures The Journal General Evolution 63(2007) 479ndash499

G T Fairhurst and D Grant ldquoThe social construction of leadership A sailing guiderdquoManagement Communication Quarterly 24(2010) 171ndash210


B Fay Contemporary Philosophy of Social Science A Multicultural Approach (New YorkBlackwell Publishers 1996)

M Foucault and P Rabinow The Foucault Reader 1st ed (New York Pantheon Books 1984)




H Gardner Leading Minds (New York Basic Books 1995)

D Gauntlett Making is Connecting (New York John Wiley and Sons 2013)

K Gergen Relational Being Beyond Self and Community (New York Oxford University Press2009)

K J Gergen Realities and Relationships Soundings in Social Construction (Cambridge MAHarvard University Press 1994)

K J Gergen The Saturated Self Dilemmas of Indentity in Contemporary Life (New York BasicBooks 2000)

K J Gergen An Invitation to Social Construction (Thousand Oaks CA Sage 2009)

V P Glaveanu ldquoParadigms in the study of creativity Introducing the perspective of culturalpsychologyrdquo New Ideas in Psychology 28 (2010) 79ndash93

S Godin Tribes We Need You to Lead Us (New York Portfolio 2009)

L Goehr The Imaginary Museum of Musical Works (New York Oxford University Press 1992)

E Greenberg and K Weber Generation We How Millennial Youth are Taking Over Americaand Changing our World Forever (Emeryville Pachatusan 2008)

K Grint and B Jackson ldquoToward lsquosocially constructiversquo social constructions of leadershiprdquoManagement Communication Quarterly 24(2010) 348ndash355

R T Hare-Mustin and J Marecek ldquoThe meaning of diff erence Gender theorypostmodernism and psychologyrdquo American Psychologist 43 (1988) 455ndash464

Z Hassan The Social Labs A New Approach to Solving Our Most Complex Challenges (SanFrancisco CA Berrett-Koehler 2014)

C Hooker and M Csikszentmihalyi ldquoFlow creativity and shared leadershiprdquo in Shared Leadership Reframing the Hows and Whys of Leadership edited by C L Pearce and J AConger (Thousand Oaks CA Sage 2003) pp 217ndash234

J Howaldt M Schwarz K Henning and F Hees Social Innovation Concepts research1047297elds and international trends (IMAZLW 2010)

H Jenkins Convergence Culture Where Old and New Media Collide (New York NYU Press 2008)

H Jenkins Confronting the Challenges of Participatory Culture Media Education for the 21st Century (Boston MA The MIT Press 2009)




S Johnson Emergence The Connected Lives of Ants Brains Cities and Software (New York

Scribner 2001)

A Kamenetz DIY U Edupunks Edupreneurs and the Coming Transformation of Higher Education (White River Junction VT Chelsea Green Publishing 2010)

J Kasof ldquoExplaining creativity The attributional perspectiverdquo Creativity Research Journal 8(1985) 311ndash366

G D Kaufman In the BeginningCreativity (Minneapolis MN Augsburg FortressPublishers 2004)

R Kearney The Wake of Imagination Towards a Postmodern Culture (Minneapolis MN

University of Minnesota Press 1988)

R Kearney ldquoThe narrative imaginationrdquo in Social Creativity edited by A Montuori and RPurser (Cresskill NJ Hampton Press 1999) Vol 1 pp 61ndash79

A Keen The Cult of the Amateur How Blogs MySpace YouTube and the Rest of TodaysUser-Generated Media are Destroying our Economy our Culture and our Values (New YorkCrown 2008)

B Kellerman The End of Leadership (New York Harper Collins 2012)

C Leadbeater We-Think Mass Innovation Not Mass Production 2nd ed (London UK Pro1047297le

Books 2009)

Niklas Luhmann Introduction to Systems Theory (Cambridge UK Polity 2013)

M Maccoby ldquoMaking sense of the leadership literaturerdquo Research-Technology Management 44(2001) 58ndash60

J Macy and C Johnstone Active Hope How to Face the Mess Without Going Crazy (NovatoCA New World Library 2012)

G McCracken Transformations Indentity Construction in Contemporary Culture(Bloomington IN Indiana University Press 2008)

J R Meindl ldquoThe romance of leadership as a follower-centric theory A socialconstructionist approachrdquo The Leadership Quarterly 6(1995) 329ndash341

C A Mockros and M Csikszentmhalyi ldquoThe social construction of creative livesrdquo in Social Creativity edited A Montuori and R Purser (Cresskill NJ Hampton Press 1999) Vol 1pp 175ndash218

A Montuori Evolutionary Competence Creating the Future (Amsterdam Gieben 1989)




A Montuori ldquoThe complexity of improvisation and the improvisation of complexity Social

science art and creativityrdquo Human Relations 56(2003) 237ndash255

A Montuori ldquoTransformative leadership for the 21st century Re1047298ections on the design of agraduate leadership curriculumrdquo ReVision 30(2010) 4ndash14

A Montuori ldquoBeyond postnormal times The future of creativity and the creativity of thefuturerdquo Futures The Journal of Policy Planning and Future Studies 43(2011a) 221ndash227

A Montuori ldquoSocial psychologyrdquo in The Encyclopedia of Creativity edited by M Runco andS Pritzker (Amsterdam Elsevier 2011b)

A Montuori ldquoSystems approachrdquo in The Encyclopedia of Creativity edited by M Runco and

S Pritzker (San Diego CA Academic Press 2011c) Vol 2 pp 414ndash421

A Montuori ldquoCreativity and the Arab Springrdquo East-West A ff airs 1(2013)

A Montuori and I Conti From Power to Partnership Creating the Future of Love Work and Community (San Francisco CA Harper 1993)

A Montuori and G Donnelly ldquoCreativity at the opening of the 21st centuryrdquo CreativeNursing A Journal of Values Issues Experience and Collaboration 19(2013) 58ndash63

A Montuori and R Purser ldquoDeconstructing the lone genius myth Towards a contextualview of creativityrdquo Journal of Humanistic Psychology 35(1995) 69ndash112

A Montuori and R Purser ldquoEcological futures Systems theory postmodernism andparticipative learning in an age of uncertaintyrdquo in Postmodernism and Organization Theoryedited by D Boje D Gephart and T Joseph (Newbury Park Sage 1996) pp 181ndash201

A Montuori and R Purser (Eds) Social Creativity (Cresskill NJ Hampton Press 1999) Vol 1

A Montuori and R E Purser (Eds) Social Creativity (Cresskill NJ Hampton Press 1999) Vol 1

E Morin On Complexity (Cresskill NJ Hampton Press 2008)

E Morin and B Kern Homeland Earth A Manifesto for the New Millennium (Cresskill NJ

Hampton Press 1999)

M Nielsen Reinventing Discovery The New Era of Networked Science (Princeton PrincetonUniversity Press 2012)

P G Northouse Leadership Theory and Practice (Thousand Oaks CA Sage 2004)

J S Nye The Powers to Lead (New York Oxford University Press 2008)




J Ogilvy Many Dimensional Man (New York Harper 1977)

J Ogilvy ldquoThis Postmodern Businessrdquo The Deeper News 1(1989) 3ndash23J Ogilvy Creating Better Futures (New York Oxford University Press 2002)

M A Pachucki J C Lena and S J Tepper ldquoCreativity narratives among college studentsSociability and everyday creativityrdquo Sociological Quarterly 51 (2010) 122ndash149

P B Paulus and B A Nijstad (Eds) Group Creativity Innovation Through Collaboration(New York Oxford University Press 2003)

F D Peat Blackwinged Night Creativity in Nature and Mind (Cambridge MA PerseusHelixBooks 2000)

F D Peat From Certainty to Uncertainty The Story of Science and Ideas in the 20th Century(Washington DC Joseph Henry Press 2002)

Pew Research Center ldquoMillennials A Portrait of a Generation Con1047297dent Connected Opento Changerdquo (Pew Research Center 2007)

R Pope Creativity Theory History Practice (New York Routledge 2005)

R Richards (Ed) Everyday Creativity and New Views of Human Nature Psychological Socialand Spiritual Perspectives (New York American Psychological Association Press 2007)

J Rifkin The Empathic Civilization The Race to Global Consciousness in a World in Crisis(New York TarcherPenguin 2009)

R E Riggio I Chaleff and J Lipman-Blumen The Art of Followership How Great FollowersCreate Great Leaders and Organizations (New York John Wiley and Sons 2008) Vol 146

J H Rolling Swarm Intelligence What Nature Teaches us About Shaping Creative Leadership(New York Macmillan 2013)

P M Rosenau Post-Modernism and the Social Sciences Insights Inroads and Intrusions(Princeton NJ Princeton University Press 1992)

J C Rost Leadership for the Twenty-First Century (Westport CT Praeger 1993)

M Runco ldquoCreativityrdquo Annual Review of Psychology 55(2004) 657ndash687

M Runco Creativity Theories and Themes Research Development and Practice (AmsterdamElsevier 2007)

M Runco and R Richards (Eds) Eminent Creativity Everyday Creativity and Health(Westport CT AblexGreenwood 1997)




D Rushkoff Program or be Programmed Ten Commands for a Digital Age (New York Or

Books 2010)

D Rushkoff Life Inc How Corporatism Conquered the World and How We Can Take It Back(New York Random House 2011)

D W Russell The Religion of the Machine Age (London UK Routledge and Kegan Paul 1983)

E E Sampson Celebrating the Other A Dialogic Account of Human Nature (Chagrin FallsTaos Institute Publications 2008)

Z Sardar Postmodernism and the Other (London Pluto Press 1999)

Z Sardar ldquoWelcome to postnormal timesrdquo Futures 42(2010) 435ndash444

K Sawyer and S DeZutter ldquoDistributed creativity How collective creations emerge fromcollaborationrdquo Psychology of Aesthetics Creativity and the Arts 3(2009) 81

M Schrage Serious Play How the Worlds Best Companies Simulate to Innovate (New YorkHarvard Business School Press 1999)

A Scott ldquoModernitys machine metaphorrdquo British Journal of Sociology (1997) 561ndash575

D K Simonton Genius Creativity and Leadership Historiometric Inquiries (CambridgeHarvard University Press 1984)

D K Simonton ldquoThe creative society Genius vis-a-vis the Zeitgeistrdquo in Social Creativity editedby A Montuori and R Purser (Cresskill NJ Hampton Press 1999) Vol 1 pp 237ndash264

P Slater A Dream Deferred Americas Discontent and the Search for a Democratic Ideal (Boston Beacon 1991)

P Slater The chrysalis E ff ect (Brighton and Portland Sussex Academic 2008)

R J Sternberg ldquoA systems model of leadership WICSrdquo American Psychologist 62(2007) 34

T Stigliano ldquoCreativity Romanticism and the rise of consumerismrdquo in Social Creativity

edited by A Montuori and R Purser (Cresskill NJ Hampton Press 1999) Vol 1

J Surowiecki The Wisdom of Crowds (New York Anchor 2005)

B Swimme and M E Tucker Journey of the Universe (New Haven CT Yale University Press2011)

M Taylor The Moment of Complexity Emerging Network Culture (Chicago IL University of Chicago Press 2003)




A Toffler Future Shock (New York Bantam 1984)

A Toffler and H Toffler Revolutionary Wealth (New York Knopf 2006)

G Tonelli ldquoGenius from the Renaissance to 1770 in Dictionary of the History of Ideas editedby P P Wiener (New York Scribner 1973) pp 293ndash297

S Toulmin Cosmopolis The Hidden Agenda of Modernity (Chicago IL University of Chicago Press 1992)

J M Twenge and W K Campbell The Narcissism Epidemic Living in an Age of Entitlement (New York Free Press 2010)

S Western Leadership A Critical Text (Thousand Oaks CA Sage 2008)

M Wheatley Leadership and the New Science (San Francisco CA Berrett-Koehler 2006)

M Winograd and M D Hais Millennial Momentum How a Generation is Remaking America(New Brunswick NJ Rutgers University Press 2011)

R Wittkower ldquoGenius Individualism in art and artistsrdquoin Dictionary of the History of Ideasedited by P P Wiener (New York Scribner 1973) pp 297ndash312

J T Wren Inventing Leadership The Challenge of Democracy (Northampton MA EdwardElgar 2007)

J T Wren (Ed) The Leaders Companion Insights on Leadership Through the Ages (New York

Free Press 1995)



nothing really makes senserdquo (p435) The new technology makes itincreasingly possible to follow our every move through the internet CCTVsatellites and other means The dramatic news about climate changeterrorism the abuses of power and rampant inequality coupled with ourseeming inability to make sense of them means the Future Shock discussedby Alvin Toffler (Toffler 1984) several decades ago is upon us Tofflerrsquos FutureShock was a play on the term Culture Shock the future is as disorienting andshocking as being in a foreign country where the most taken for grantedthings are done diff erently disorientingly weirdly in a way that is just nothellipnormal and the world truly doesnrsquot seem to make sense

The sociologist Zygmunt Bauman writes that modernity has gone from beingldquosolidrdquo to ldquoliquidrdquo everything is 1047298uid and changing there is no predictabilityno certainty no stability and human beings have to become 1047298exibleadaptable capable of working under conditions of great uncertainty (Bauman2005 2007 2008) The US army describes the present world with theacronym VUCA Volatile Uncertain Complex Ambiguous In the businessworld the acronym FUD is used to describe a condition of Fear Uncertaintyand Doubt (Winograd and Hais 2011) In this complex 1047298uid uncertaininterregnum Sardar argues that creativity and imagination are essential to

address the ldquocomplexity contradictions and chaosrdquo of postnormal times

Imagination is the main tool indeed we would suggest the only toolwhich takes us from simple reasoned analysis to higher synthesis While

imagination is intangible it creates and shapes our reality while a mental tool it aff ects our behavior and expectations We will have to imagine our way out of the postnormal times The kind of futures we imagine beyond postnormal times would depend on the quality of our imagination Given that our imagination is embedded and limited to our own culture we will have to unleash a broad spectrum of imaginations from the rich diversity

of human cultures and multiple ways of imagining alternatives toconventional orthodox ways of being and doing (p435)

For Sardar imagination and its broader umbrella creativity are essential ldquotoimagine our way out of the postnormal timesrdquo As the old ways of thinkingand doing are failing creativity is as a vital resource to envision and developalternatives whether technological economic or social Creativity has gonefrom being a fascinating marginal odd and inexplicable phenomenon to



































































with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)


































































with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)


























































with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)


















































with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)
















































with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)




































with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)





















with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)













with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)






with wildly diff




















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)
















of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)






of people to1047297

ght injustice









































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)






































REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)





























REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)






















REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)













REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)




REFERENCES


































Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)















Penguin 2004)
































Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)

























Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)





Scribner 2001)










Books 2009)



























Hampton Press 1999)




























Books 2010)

































Free Press 1995)




















Hampton Press 1999)




























Books 2010)

































Free Press 1995)

























Books 2010)

































Free Press 1995)





Books 2010)

































Free Press 1995)















Free Press 1995)

Documents

Come Together...for what?