Leading from the right: understanding the divided brain

It’ll be ten years in October since Iain McGilchrist published The Master and His Emissary, his magisterial study of the division of the brain into left and right hemispheres and the impact of this division on Western civilisation. I began reading it in 2013 and have finished it in time for the tenth anniversary. Although McGilchrist writes well and lucidly, and although I devour books, I found this one a challenging read. I needed to take pauses from reading it to let its argument sink in. This isn’t just a reflection of my cognitive abilities. McGilchrist writes in ways that draw on both left- and right-hemisphere orientations. My struggle perhaps exemplifies his thesis that we have become inured to left-dominant ways of comprehending.

The outcome of 25 years’ polymathic scholarship, The Master and His Emissary cites 2,500 sources of neuroscience, provides a potted history of Western culture and philosophy from the Greeks to the present day, and displays refined critical appreciation of art, literature and music through the ages. Despite its challenging nature, it is widely cited in coaching and leadership circles, though often erroneously by those who take it to be a confirmation of pop psychology constructs of the left and right “brains” as having different functions: left for language, right for creativity, etc.

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We’re better than this

By Martin Vogel

So the Government’s plans for the end of free movement are revealed. Sajid Javid speaks of Britain being open for business. But, in an angry thread on Twitter, Ian Dunt nails the true significance of the measure:

And of Labour’s complicity with Government policy, he says:

I find the anti-immigrant sentiment depressing, the more so when dressed up in liberal rhetoric. Britain doesn’t have to be this way. There’s a positive story of our experience of immigration. If politicians won’t speak up for it, we still have The Proclaimers. https://www.youtube.com/watch?v=y67ZTTRzqVk

Nick Cave as coach

By Martin Vogel

Nick Cave has initiated an interesting project answering questions sent in from his fans. The questions are searching. The meditations Nick Cave composes in reply are works of artistry in their own right.

Last year, I wrote about the transcendent experience of the Nick Cave and the Bad Seeds concerts that followed the death of his son. The first of his epistles addresses this very theme. He describes how immersion in work and – in so doing – recovering a sense of wonder helped him find community and accept his grief:

“I kind of realised that work was the key to get back to my life, but I also realised that I was not alone in my grief and that many of you were, in one way or another, suffering your own sorrows, your own griefs. I felt this in our live performances. I felt very acutely that a sense of suffering was the connective tissue that held us all together.”

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Nick Cave: the transcendent power of music

By Martin Vogel

bad seeds

The most memorable and moving cultural event I experienced this year was seeing Nick Cave and the Bad Seeds perform at the London Arena in September. In fact, I could say that in any year I see the band in concert. But this year was especially poignant.

Rock music has acquired roughly the position in our culture that jazz had when I was growing up: the breakthrough art form of an earlier generation, kept on life support by an ageing cohort of afficionados. Nick Cave has been in the business a long time and manages to observe the boundaries of the form while keeping it fresh and innovative. He surrounds himself with musicians of the highest calibre and inventiveness and produces music that spans the spectrum from hard-edged, dark, aggression to the most heart-wrenching and romantic ballads. Nick Cave himself is a consumate performer: he strides the stage with visceral energy and has an electric relationship with his audience.

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Life affirmation courtesy of Camden Council

By Martin Vogel

My son is in there somewhere.

I’ve experienced quite a number of concerts over the years at the Royal Albert Hall. But the one I had the privilege to attend on Monday night ranks possibly as the best. Let me declare an interest, I was the parent of one of the performers. But the same goes for nearly all the 3,500 other members of the audience.

For this was the Camden Music Festival, a bi-annual event which brings together schoolchildren aged between six and eighteen from across the London Borough of Camden in an extraordinary spectacle of collaborative music-making. It wasn’t simply parental pride that made this a heart warming event. It was an ambitious, entertaining and impressive performance of undeniable quality. And it exemplifies important characteristics of the value a local authority can deliver to its community even in a time of austerity.

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The value of culture lies in its capacity to enrich lives

By Martin Vogel

The National Gallery drew large crowds during the Second World War for recitals by Myra Hess
The National Gallery drew large crowds during the Second World War for recitals by Myra Hess

Organisations of all kinds face a new challenge: to demonstrate that they create value for society and not just for themselves.

A reckoning has been a long time coming after the financial collapse of 2008. But it’s arrival is unmistakable – not just in the mood music of the party leaders as they compete to compose the best tune on moral capitalism. It’s evident in the furore around the aborted bonus of the RBS chief executive, Stephen Hester, the broadly sympathetic hearing given to the Occupy protestors at St. Paul’s, and the public revulsion over the phone hacking scandal which brought about the Leveson Inquiry into the role of the press.

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