Saturday, 17 February 2018

Situational Leadership, Situational Psychology, Situational Comedy and Situationist Arts

Does your personality seem to differ depending on the situations you face?


Have you ever explored theories of situational psychology, with yourself as the research subject?

Do you express yourself differently in different situations?

Have you ever investigated situational psychology with other people as the research subjects?

Were you at the Australian Political Reform Club presentation here earlier this morning?









Does your mind think differently in public life than it does in private life?

Are you ready for number 55 in the Mozarty Party Climatologically Cool 100?

It is probably not necessary to know much about the history of music in Paris to be aware of various situations in that part of the world.

It is sometimes necessary to know what is going on in Canberra, especially when seeking storylines for situational comedies.

It is probably necessary to know something about the history of music in Prague when attempting to understand politics, and political reform processes, anywhere in the world.

Mozart's Symphony No. 38 in D major, K. 504, was composed towards the end of 1786.  It was first performed on 19 January 1787, in Prague.










The application of problem-solving techniques, in any situation, is meant to involve collaborative leadership in a democracy, including in any democratic orchestra.

Politics in a democracy is meant to involve situational leadership.

Journalism in a democracy is meant to involve shared leadership.









Reporting on the ridiculous antics of politicians can often be like writing a sitcom.  That is why it is better to take a community journalism approach.

The investigation will then focus on situational leadership rather than situation comedy.

As you may have noticed, there have been many different situations here already.










A serious reporter will follow the democratic lead of John Dewey.

Most other political journalists tend to follow the elitist lead of Walter Lippmann.

What is your approach to journalism?  Does it depend on the situation?

Are you a quality reporter holding political candidates to account

Preventing the worst candidates from being unfairly elected is an essential public service.









One of the main questions for any journalist or a politician is:

What has significantly changed in a situation between today and yesterday?










The next questions, of course, all relate to why the change occurred and whether the situation is better or worse as a consequence.

When a situation changes, who has the most suitable knowledge and skills for the new situation?

Would collaborative leadership help you to discover the answer to that question?








Does effective collaboration require everyone involved to abide by the same code of conduct?

Sometimes, collaboration can, in fact, be authoritarian.  And authoritarianism often involves coercion.








Even without coercion, there is often a misguided eagerness to please everyone, or at least the most influential people in the group.

Authoritarianism often arises as a consequence of excessive compliance to groupthink rather than the dominance of one person.










Being reasonably anti-authoritarian is not deliberately obstructive.  It supplies evidence-based critiques of situations, without fear or favour.

At number 54 in the Mozarty Party Climatologically Cool 100 is an opera seria called La clemenza di Tito, K. 621.  In English, it translates as The Clemency of Titus.









Like the Prague Symphony a few years earlier, La clemenza di Tito was commissioned for service in Bohemia.  The commissioner was Domenico Guardasoni.  The year was 1791.  Like previous works, it would be performed at the Estates Theatre.

The political symbolism of the work was meant to reflect the propaganda intentions of Leopold II during his coronation in Prague as King of Bohemia.










Are you familiar with Mozart's relationship with Prague?

Are you familiar with Mozart's education in relation to music, history and languages?

During his youthful trips in Italy, Mozart most likely experienced the Arch of Titus and the Colosseum for himself.

La Clemenza di Tito was Mozart's first opera to be performed in London.  That occurred in 1806, long after his death.

The opera was mentioned in this ethereal theatre in November last year.









Political parties, and political factions, are often just as hierarchical as the administrative apparatus of states.  This can easily be changed through the development of technical training at the lower levels of party membership.

Once members achieve a sufficient level of competence, they then have a right to be treated as equals by persons in positions of leadership.  This is the situation within the Mozarty Party.









The party itself is anti-authoritarian though its leaders obviously expect sufficient competence amongst all its major players.

If you have the ambition to perform on the world stage on behalf of the party, you will need to audition.

If you fail the auditions, you will be advised to participate in suitable training.

Suitable training is supplied to patrons only.

When did you first become a patron of enlightened democracy, and how can you prove it?









What have been your experiences of situational leadership?

What have been your experiences of situational psychology?

What have been our experiences of situational comedy?

What have been your situationist situations?

Symphonies and serious operas are not usually equated with situational comedies.  In fact, they are usually regarded as the opposite of comedic activities.

Serious works are often thought to be reflective of the Establishment.

Comedies are often considered to be anti-establishmentarian, at least to some degree.









Even though free training has long been offered to the working classes and underclasses, as a philanthropic gesture by the Mozarty Party's global campaign manager, most current patrons of the party apparently originate from middle class and upper class backgrounds.

The working classes often lack consciousness of their own choices in life.  They tend to avoid challenging their minds to think in healthily imaginative ways. 

The main reason for that, apparently, is that the working classes continually experience too many distressingly difficult and stressfully unpredictable events, as well as seemingly unresolvable situations.  Such persons may, with superficial cheerfulness and somewhat haphazardly, go through life wondering why they face so many unpleasant situations, yet they are too occupied in trying to mask their true feelings instead of facing them.

The working classes cope by seeing themselves as if they exist in situational comedies.  Working class persons unable to cope with the problems in their lives often consider themselves to be existing in situational tragedies.  The latter persons tend to become an underclass, especially when they turn to cynicism, self-pity or other dangerous pursuits.

When politicians behave with cynicism, self-pity and in dangerously decadent ways, society has no leadership.

Situational leadership is necessary to ensure healthy reforms are possible, at any time of year, in any part of the world.

What, for example, are your ideas for reforming Australian politics?

Do you expect politicians to spend their time serving the public interest or feathering their own nests and those of their friends?

Should politicians treat public service as a carnival or Lent?

Where have you been finding policy controversies and resolving the matters magnificently?










The key to good leadership, for anyone, is to have an enlightened attitude.

When faced with exceedingly difficult situations, most people require an epistemological break.

Seeing situations differently yet accurately is often the key to addressing the problems within them with success.

What sort of life do you lead?

Are you leading your own life or is someone else leading it for you?

What does your life have in common with the life of Roman Emperor Titus?

What does your life have in common with the life of Habsburg Emperor Leopold II?

What does your life have in common with the life of Mozart?

How has your life been influenced by the actions of Titus, Leopold and/or Mozart?

If you are over the age of 45, you have obviously outlived all three persons.

Mozart died at 35.  Titus died at 41.  Leopold died at 44.

Were they any happier than peasants?









Regardless of your current status within a class-based socioeconomic system, would you like the Mozarty Party to show you how to address a particular situation through the harmonious interplay of beauty, understanding and magnificence?

Next in the Mozarty Party Climatologically Cool 100 countdown, at number 53, is the Bassoon Concerto in B-flat major, K. 191/186e.  It was completed on 4 June 1774.  Mozart was 18 years of age at that time.

You may already know that he used some ideas from that concerto at a much later date.

What is your view of history?

Do you ever make the time to write notes on your own views of past and present situations?










What is your view on the history and politics of pollution?

What is your view on the history and politics of poverty?

What is your view on the history and politics of education?

What is your view on the history and politics of the arts?

Have you ever bothered to read other people's notes on those subjects?

Do too many distractions prevent you from reading anything properly?










There are ignorant persons amongst both the poor and the excessively privileged, and amongst the persons in between those two socioeconomic extremes.

How do you usually learn about situations?

Do you keep a diary or notebook of your experiences?











Notebooks and manuscripts are often misinterpreted by readers other than the authors.

Writings, and other notations, may even be misinterpreted by their authors at a later date, especially when the contextual matters of situations are forgotten.

How do you gather evidence before addressing an audience?

Do you ever write in a secret code?

Do you usually prepare for a performance by thinking about the expectations of the likely audience?

Do you generally tell an audience what it wants to hear or do you prefer to give an audience what its participants need to hear?

Have you ever been a candidate in an election?










How do you usually tell the difference between needs and wants?

Do your audiences have authority over you or do you prefer to take an anti-authoritarian and somewhat rebellious approach to audiences?

Do you prefer to perform as though you and your audience are in a situational comedy together?









There is an anti-intellectualism amongst many sections of every socio-economic class.   That may have something to do with the irony of libertarian philosophies, and even liberation theology.

When those ideas are let loose from the realms of theory, they do not provide liberty but chaos and abusiveness.

Liberty has a reasonable code of conduct.  Ignoring it brings disaster.












Yet situationist arts do not necessarily lead to the social and economic chaos of idealist revolutions and self-indulgent speculations.  By combining situational leadership, situational psychology, situational comedy and situationist artistic practices, it is possible to reform societies peacefully, effectively and fairly.

But the science of various dangers must never be treated lightly.  The stupidity and selfishness of the persons ignoring science must be satirically confronted as often as possible.

People with knowledge of planetary dangers and regional dangers have every reason to be afraid of the possible problems ahead.

Reason will not break through the barriers of greed and ignorance.  Satire is the only sensible weapon.










Next, at number 52 in the Mozarty Party Climatologically Cool 100 is a work first performed on 26 December 1772.  Mozart was 16 years of age.  He and his father were in Milan.

The performance took place in the Royal Ducal Theatre, known in Italian as the Teatro Regio Ducal.  The theatre was attached to the royal palace, the Palazzo Reale di Milano.

Just over three years later, the theatre burnt down during a carnival gala, but Mozart had nothing to do with that.

The work at number 52 is an opera.  Its libretto was written by Giovanni de Gamerra, who later had a reputation as a revolutionary.

The title character in Lucio Silla, K. 135, is the Roman general, consul and dictator, Sulla.  He ruled long before Titus.

The opera has much in common with the considerably later La Clemenza di Tito.  The plot similarly involves thwarted lovers eventually united, as often happens in non-tragic operas.

There are also similarities between the final clemencies in the plots.  Mozart was very fond of clemency as a theme, after much drama, of course.









After the ducal theatre was destroyed, a nearby church, Santa Maria alla Scala was demolished to make way for a new theatre, the current La Scala.

What is your attitude towards property developers, in any century?

Do you think there is much forgiveness within capitalism or is it mainly about ruthlessness?

Do you think most organisations are run in a dictatorial way?

When have you participated in artistic activities within a cultural centre?

Are you a participant in an alternative lifestyle?

Are you an opera aficionado?

Are you religious?








Have you ever attended a morning of memories and melodies?

Which theory do you prefer to use to critique or promote the capitalist mode of production, and why?

Which theories do you prefer to use when critiquing or promoting other modes of production, and why?

Which theories do you use when critiquing or promoting various modes of consumption, capital accumulation, wealth distribution and wealth redistribution, and why?

Which theories do you consider to be irrelevant, and why?

How do you distinguish between a mode of production and an expression of creativity?

When have you criticised or promoted opera productions?









There are many different situations in which people find themselves, whether intentionally or not.

How do you attempt to challenge your assumptions of theories and practices?

What is productivity?

What is creativity?

How have you developed your own theories on those subjects?

Have you ever felt alienated?

How do you usually seek to profit from your creativity?

Are most of your social relationships fake?








How do you distinguish between real friendship and commodity fetishism?

How have people become less human while objects have become more human, and why?

How do you know you are not currently wearing a character mask?

Do you prefer making life meaningful or do you prefer making life into a spectacle?

Do you consider this ethereal theatre to be a commodity or a community?










The next work in the Mozarty Party Climatologically Cool 100, at number 51, was written especially for its first performer, Venanzio Rauzzini, who played the part of an exiled senator in Lucio Silla.  Whether Mr Rauzzini was a real castrato or not has been open to speculation, particularly as he had a reputation as a something of a rascal with the ladies.

Subsequently, the work he sang as a soloist has usually been sung by a female soprano. It is called Exsultate, jubilate K. 165.  In English, the meaning can be translated as shout for joy.  Even so, singers of such works are meant to sing, not shout.

The work in question is a motet.  It was first performed 17 January 1773, ten days before the young composer's 17th birthday.  The venue was a Theatine church rather than a theatre. 









After retiring from the stage, Mr Rauzzini became a teacher of music and piano.  He had many successful pupils in England, especially after he settled in Bath.

Do you teach other people how to follow your own successes?

Genuine artists, intellectuals and theorists usually think more deeply than other people.  They do not react unthinkingly to situations.  They prefer to act in all situations contextually.