From project ontologies to communities of virtue

Projects, as an organizing principle, can provide exciting contexts for innovative work. Thus far, project management discourse has tended to privilege the vital need to deliver projects ‘on time, on budget, and to specification’. In common with the call for papers for this workshop we suggest that perhaps the “instrumental rationality” underpinning this language of characterising project activity may create more problems than it solves. In this paper we suggest that such questions (and language) frame project contexts in a partial way. We argue that such concerns stem from a particular worldview or ontology, which we identify as a ‘being’ ontology. Here we contrast being and becoming project ontologies, to explore the questions, methods and interventions that each foregrounds. In an attempt to move this dialogue further than simply another contrast of modern and postmodernist accounts of project organising, we go on to consider some possible ethical concomitants of valuing being and becoming ontologies in project contexts.

Merleau-Ponty and Nishida: Artistic expression as 'motor-perceptual faith'

This dissertation carries out a dialogue between Maurice Merleau-Ponty and Nishida Kitarō concerning their theories of artistic expression and faith. Both philosophers go through remarkably similar trajectories in their philosophic projects: In their early works they focus on the motor-perceptual body of the artist, and as they move towards the mature articulation of their ontologies, the concept of faith becomes central. I propose the term “motor-perceptual faith” to bring these seemingly diverse sets of concerns into a conceptual continuity. My study explores this connection, and argues that the artist’s motor-perceptual expressive body, as colourfully and sometimes poetically articulated in their early works, enacts the form of faith developed more abstractly in their later writings. Exploring these relations fosters a mutual expansion of the early by the later works, thus thickening the concept of faith by seeing it as enacted by the artist, while enlarging the concept of artistic expression by understanding it as a practice of motor‐perceptual faith. Framing these philosophers as putting forth a traditionally religious concept as illustrated by way of artistic expression, offers a new articulation of both of their writings, an important conceptual bridge between the two, while challenging un-ambiguous distinctions between art, philosophy and religion, and ultimately philosophy East and West.