Kirjahaku

Holt argues strategy is the process by which an organization presents itself to itself and others. To bring this about exponents of strategic inquiry attempt t gather knowledge about the conditions in which any organization is being organized: emerging markets, restless geo-political environments, networks of technological ordering, populations with differing skill sets, and the like. The upshot of such inquiry is a succession of images by which an organization attains distinction as a unity, or 'self'. Using work from literature, art, and philosophy, Holt explores what it means to present such an organizational 'self'. In strategy practice, he identifies three related forms of presentation. First comes strategy as a project of representational knowledge. Here strategists generate accurate, timely, and complex information to build successive images of the organization and its place in the world. Though pervasive and persistent, these overtly technical images remain subject to the basic skeptical challenge that things could be otherwise. In response, come the second and third forms of self presentation: the creation of visionary images, or assertions of competitive brute will. Here too come problems. With vision comes the risk of collective thoughtlessness, and with brute will a one dimensional condition of aquisitive competition. Holt suggests judgment offers another way of responding to the skeptics' challenge. Tracing a narrative through the ideas of David Hume, Immanuel Kant, Adam Smith, William Shakespeare, William Hazlitt, Hannah Arendt, Stanley Cavell, Harold Pinter, Virginia Woolf, Martha Nussbaum and others, Holt finds much might be gained from associating strategic inquiry with a form of critical or poetic spectating. It is, he argues, by having this un-homely sense of 'being besides' oneself that an organization can best present itself to itself and others.

Do human rights make sense? They have been central to post-war political life, and our picture of moral self. But this is being eroded, Holt argues, and with it the viability of human rights discourse. The pre-social individual and its mental armoury is being challenged by an increasing awareness of genealogical forces in which the self is less a lone claimant than an exponent or rebel.Using Wittgenstein's philosophy, this book considers the liberal position on human rights, along with the communitarian and pragmatic attacks, and challenges the intelligibility of each from the perspective of what it is to be a language user. Wittgenstein, Politics and Human Rights argues that moral relations are not dead; but that their life resides with the on-going relations of selves governed by universal principles.

Do human rights make sense? They have been central to post-war political life, and our picture of moral self. But this is being eroded, Holt argues, and with it the viability of human rights discourse. The pre-social individual and its mental armoury is being challenged by an increasing awareness of genealogical forces in which the self is less a lone claimant than an exponent or rebel.Using Wittgenstein's philosophy, this book considers the liberal position on human rights, along with the communitarian and pragmatic attacks, and challenges the intelligibility of each from the perspective of what it is to be a language user. Wittgenstein, Politics and Human Rights argues that moral relations are not dead; but that their life resides with the on-going relations of selves governed by universal principles.

How can human flourishing arise from what the poet Mary Oliver called 'good work/ongoing'? In its attentiveness to the material, form and purpose of distinct, well-made things, craft epitomizes good work. In its disciplined, quiet giving over to the repetitions of tradition, craft is ongoing. Perhaps more than any other practice, craft work reveals the intimacy between a manifest sense of self and the imperative of its common expression. In a world broken into shuttered units, each separated from the other for the purpose of measured comparison and control, Robin Holt argues that craft work can produce the unassigned remainder that refuses being broken up: it generates its own sufficiency and joy.

How can human flourishing arise from what the poet Mary Oliver called 'good work/ongoing'? In its attentiveness to the material, form and purpose of distinct, well-made things, craft epitomizes good work. In its disciplined, quiet giving over to the repetitions of tradition, craft is ongoing. Perhaps more than any other practice, craft work reveals the intimacy between a manifest sense of self and the imperative of its common expression. In a world broken into shuttered units, each separated from the other for the purpose of measured comparison and control, Robin Holt argues that craft work can produce the unassigned remainder that refuses being broken up: it generates its own sufficiency and joy.