In this paper we explore challenges facing leadership in a culture of “all consuming images” from a perspective which claims that images have a moral or normative dimension. The cumulative effect of contemporary image saturation is increased resistance to the normative power of an image. We also suggest that in a culturally diverse global economy, it is necessary to expand the moral aspects of good business leadership beyond providing a basis for productive, coherent group identity within a firm at the (...) expense of seeing outsiders as “others.” We also explore what imagining leadership in business might be like in a world in which visual images shape our understandings of individual and group identity. While our focus is on leadership in business, we also use examples from the political arena. We also suggest that imagining business leadership in the ways we propose may be helpful to women, providing them with an image of business leadership more closely reflective of their experience of corporate culture, its limits, and possibilities. (shrink)

In this paper we explore challenges facing leadership in a culture of “all consuming images” from a perspective which claims that images have a moral or normative dimension. The cumulative effect of contemporary image saturation is increased resistance to the normative power of an image. We also suggest that in a culturally diverse global economy, it is necessary to expand the moral aspects of good business leadership beyond providing a basis for productive, coherent group identity within a firm at the (...) expense of seeing outsiders as “others.” We also explore what imagining leadership in business might be like in a world in which visual images shape our understandings of individual and group identity. While our focus is on leadership in business, we also use examples from the political arena. We also suggest that imagining business leadership in the ways we propose may be helpful to women, providing them with an image of business leadership more closely reflective of their experience of corporate culture, its limits, and possibilities. (shrink)

We live in an age in which outer space has changed from a theme for flights of science fiction to the actual locus of exploration and travel.1 Space no longer has merely speculative significance for thinking about possible worlds; it has become a real factor in understanding the nature and conditions of the human world that we are constantly refashioning. Our entry into outer space brings with it changes in conditions and experience that require us to rethink the concepts through (...) which we comprehend environment and act environmentally. (shrink)

When we attend a dance performance we expect to see human beings performing various sorts of bodily movements. Movement is, uncontroversially, the primary medium of a dance. Our intuition, then, is to think that our response to and understanding of the dance must be connected in some way to this movement. Attempts to relate our understanding of a dance, specifically our grasping the meaning of a dance, to the medium of movement, through a movement-oriented response have taken the form of (...) theories that rely on a notion of kinesthetic response or kinesthetic empathy. My intentions in this essay are to show that the intuition that our understanding of a dance is kinesthetically based is correct and that how the kinesthetic brings us to understand the dance is different from the earlier empathy theories, in a number of important ways. But I will also argue that current analytic strategies will not suffice and that the full defense of kinesthetic understanding, as I will call it, will require a different manner of explaining and understanding of the activities of human beings. My own analysis will draw on a number of resources, primarily the case study of Alexander Technique, a body therapy that seems to give us access to the kinesthetic organization of our activities and the philosophical work of a number of people, centrally Maurice Merleau-Ponty, who argues strongly for the role movement plays in constituting our world. I will show how kinesthetic understanding, given the historical trajectories permitted by tradition and the mechanics of the human body, can bring dancers, choreographers, and critics to a point of intersection where they can experience and talk about dance in terms of its kinesthetic basis, and that without this intersection the kind of meaning in movement I am discussing cannot take place. They will miss the preferred intersection unless they achieve kinesthetic understanding. (shrink)