Peter Simpson - Böcker

This book describes an approach based on attention that can help individuals and groups to cooperate more effectively. It presents the first book-length reassessment of Wilfred Bion's ideas on groups. Every group has a purpose or purposes - or, as Bion put it, "every group, however casual, meets to 'do' something." The approach described here shows how individual group members' use of attention - both broad or "evenly suspended" and focused - can promote a better understanding of purpose, making it possible for them to do what they have met to do. This work of attention enables group members to maintain a clear sense of their purpose and also to recognise how easily they can become distracted, losing focus and dispersing their energies into activities that are off task. The approach builds on the authors' experience of using Bion's insights into group dynamics over twenty-five years in different contexts, formal and informal, as group members, managers, leaders, teachers, consultants, researchers, family members, and friends.

Challenges the orthodox account of Hegelian phenomenology as hyper-rationalism, arguing that Hegel's insistence on the primacy of experience in the development of scientific knowledge amounts to a kind of empiricism, or inductive epistemology.Hegel's Transcendental Induction challenges the orthodox account of Hegelian phenomenology as a hyper-rationalism, arguing that Hegel's insistence on the primacy of experience in the development of scientific knowledge amounts to a kind of empiricism, or inductive epistemology. While the inductive element does not exclude an emphasis on deductive demonstration as well, Hegel's phenomenological description of knowledge demonstrates why knowing becomes scientific only to the extent that it recognizes its dependence on experience.Simpson's argument closely parallels Hegel's own in the Phenomenology of Spirit, highlighting those sections, like Hegel's analysis of mastery and slavery, that contribute to the argument that knowing is both vulnerable and responsive to the way in which experience resists our attempts to make sense of things. Simpson's argument connects his account of Hegelian phenomenology with traditional accounts of induction, and with a number of other commentators.

This book describes an approach based on attention that can help individuals and groups to cooperate more effectively. It presents the first book-length reassessment of Wilfred Bion's ideas on groups. Every group has a purpose or purposes - or, as Bion put it, "every group, however casual, meets to 'do' something." The approach described here shows how individual group members' use of attention - both broad or "evenly suspended" and focused - can promote a better understanding of purpose, making it possible for them to do what they have met to do. This work of attention enables group members to maintain a clear sense of their purpose and also to recognise how easily they can become distracted, losing focus and dispersing their energies into activities that are off task. The approach builds on the authors' experience of using Bion's insights into group dynamics over twenty-five years in different contexts, formal and informal, as group members, managers, leaders, teachers, consultants, researchers, family members, and friends. The book aims to introduce Wilfred Bion's ideas to those who may never have encountered them, but it also develops those ideas in a way that offers fresh insights for those already familiar with his work. Throughout the book the authors use stories from their own experience to make the ideas accessible to anyone who is seeking to enhance their contributions to group life, to find the truth behind their experience, or simply to make things less confusing.

Colin McCahon (1919-1987) was New Zealand's greatest twentieth-century artist. Through landscapes, biblical paintings and abstraction, the introduction of words and Maori motifs, McCahon's work came to define a distinctly New Zealand modernist idiom. Collected and exhibited extensively in Australasia and Europe, McCahon's work has not been assessed as a whole for thirty-five years.In this richly illustrated two-volume work, written in an accessible style and published to coincide with the centenary of Colin McCahon's birth, leading McCahon scholar, writer and curator Peter Simpson chronicles the evolution of McCahon's work over the artist's entire forty-five-year career.Simpson has enjoyed unprecedented access to McCahon's extensive correspondence with friends, family, dealers, patrons and others. This material enables us to begin to understand McCahon's work as the artist himself conceived it. Each volume includes over three hundred illustrations in colour, with a generous selection of reproductions of McCahon's work (many never previously published), plus photographs, catalogue covers, facsimiles and other illustrative material.This will be the definitive work on New Zealand's leading artist for many years to come.

Colin McCahon (1919-1987) was New Zealand's greatest twentieth-century artist. Through landscapes, biblical paintings and abstraction, the introduction of words and Maori motifs, McCahon's work came to define a distinctly New Zealand modernist idiom. Collected and exhibited extensively in Australasia and Europe, McCahon's work has not been assessed as a whole for thirty-five years.In this richly illustrated two-volume work, written in an accessible style and published to coincide with the centenary of Colin McCahon's birth, leading McCahon scholar, writer and curator Dr Peter Simpson chronicles the evolution of the artist's work over McCahon's entire forty-five-year career.Simpson has enjoyed unprecedented access to McCahon's extensive correspondence with friends, family, dealers, patrons and others. This material enables us to begin to understand McCahon's work as the artist himself conceived it. Each volume includes over three-hundred illustrations in colour, with a generous selection of reproductions of McCahon's work (many never previously published), plus photographs, catalogue covers, facsimiles and other illustrative material.These books will be the definitive work on New Zealand's leading artist for many years to come.

This substantial book of letters selected by esteemed Colin McCahon scholar PeterSimpson shines a light on one of the most remarkable relationships in New Zealandart.The painter Colin McCahon and the librarian Ron O'Reilly first met in 1938, inDunedin, when McCahon was 19 and O'Reilly 24. They remained close, writingregularly to each other until 1981, when McCahon became too unwell to write.Their 380 letters covered McCahon's art practice, the contemporary art scene,ideas, philosophy and the spiritual life. Dazzling in their range, intensity and candour,the letters track a unique friendship and partnership in art.The book is illustrated with 64 images, all discussed in the letters. Simpson'sselection represents the first time these letters have been transcribed and collectedin what is an act of great generosity to future scholars. It adds a new dimension toan understanding of McCahon and his career and is a rich and lively addition to anyart lover's McCahon library.O'Reilly's son Matthew O'Reilly and McCahon's grandson Finn McCahon-Jonescontribute insightful essays that round out the unique perspective the letters afford.

It is not a practice that can be measured, but its impact in leadership practice is immense and tangible. Offering fresh insights for leadership students, researchers, and practitioners on the challenges of working in uncertainty, the book offers a novel perspective on Negative Capability as a way of being.