It is in the second part of the movement that the piece of music becomes most interesting. This second section of a sonata is typically known as the development—and it contains several (or many) variations on the two major themes. As listeners we may not even be conscious of the fact that these are the same two themes as in the exposition (providing continuity), but also that these two themes are being presented in a wonderfully varied way, often playing off in new ways against one another. The sonata movement then (as a rule) concludes with a recapitulation of the original two themes (allowing us as listeners to return to “the home base”) and perhaps a coda (usually a new theme) that allows the movement to end with a flourish.
If you want to get a sense of how the sonata form operates listen to a symphony by Mozart or Beethoven (though Beethoven often does a whole lot of new things with the sonata form). You can even listen to a later symphony by Brahms or Dvorak to get a good feel for the sonata form. Beethoven’s piano sonatas (as the name implies) are built around this musical model. And to get an even more dramatic sense of a theme that is offered in diverse forms, listen to J.S. Bach’s amazing Goldberg Variations.
Why do I mention the sonata form? This bit of music theory seems to be a bit distant from the fractal forms to be found in nature, a long way from the statics operating within organizations. I begin with this form because we can so vividly (almost poetically) see the fractal being literally “played out” in a musical sonata. We emotionally experience the divergence (turning outward) away from the comfortable and expected, and then experience the equally-as-emotional convergence (turning inward) back to the origins and to the expected.
I would propose that vital and enduring organizations also contain this balance and sequencing of convergence and divergence. This balance resides at the heart of the Polystatic process. A vital and enduring organization, in essence, creates its own white-water environment. Most importantly, the diversity associated with multiple perspectives, multiple sources of expertise, and multiple belief systems must be balanced against the “glue” that holds the organization together and then provides the container for this diversity. This glue is to be found in the leading part facet of the Lens of Essence.
We see two or more fundamental themes (purposes, directions, patterns of behavior, subcultures) playing out against each other in a variety of ways. We see these organizational themes coming together on occasion and then departing from one another. The patterned interplay between themes and variations are found at all levels of any organization and are manifest in many ways. I offer three of these ways.
Words, Metaphors and Stories
Patterns can be found at the “micro” level in the daily speech of those working in an organization. They are found in frequently used words and phrases and in the metaphors being engaged to describe specific events or desired outcomes in the organization. For example, specific sports or technological metaphors might frequently be used. While some sports metaphors, such as “teamwork” and “winning” are commonly used and are not unique to an organization, other sports metaphors are unique and specific to an organization. Similarly, some technological metaphors, such as “interfacing” and “module” are common, but others are unique to a specific organization. Look for the unique words and phrases that keep getting used. They tell you about the shared perspectives and values of those working in the organization. The central operating principles (fourth facet) might be manifest repeatedly in these words and phrases.
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