Communication, Information and Coordination in Organizations Essay Example for Free

Communication, Information and Coordination in Organizations Essay In speaking of organizations I believe that how organizations communicate is an extremely key factor in success versus failure. The purpose of this paper is to talk about Communication, Information and Coordination, specifically Vertical and Lateral Coordination in organizations. I will reference the four different organizational frames we have learned about as a reference guide to explain how communication is viewed, as well as which types of organizations are best suited to use either a Vertical or Lateral Coordination methodology. When we began the term we laid down a foundation on the different types of frames that an organization can take on. I would like to briefly touch on the four frames and then show how communication is defined in each. The first frame is the Structural Frame, which, â€Å"†¦emphasizes goals, specialized roles, and formal relationships†¦Ã¢â‚¬  (Bolman and Deal p. 14) In this frame the organization ultimately uses â€Å"†¦rules, policies, procedures and hierarchies to coordinate diverse activities into a unified strategy. †(Bolman and Deal p. 4) As you can see with the definition above, communication is being done through a system of symbols, signs and or behavior. The organization creates the method for information to be passed and there is an expectation that it will be followed. In the structural frame communication is used to, â€Å"Transmit facts and information. † (Bolman and Deal p. 307) You as an employee are simply taking information from the organization and using it accordingly as well as taking information you receive and passing it along. You as an individual are not analyzing the information, drawing any conclusions altering it, You are simply taking the information given to you and acting on it as given. The second frame is the Human Resource Frame. The Human Resource frame sees the organization, â€Å"†¦much like an extended family, made up of individuals with needs, feelings, prejudices, skills and limitations†¦Ã¢â‚¬ (Bolman and Deal p. 14) In this frame the organization is made to fit the individuals that work there. The Human Resource Frame uses communication to â€Å"Exchange information, needs and feelings. (Bolman and Deal p. 307) The Human Resource Frame uses the individual as a conduit for information gathering and dispersal and is much more flexible in the delivery of information as opposed to the Structural Frame, which is more rigidly aligned. People are the most valued asset of an organization. The Human Resource Frame seeks to develop the individual employee in the organization rather than making them one step is a core process. The third frame is the Political Frame and sees organizations as â€Å"†¦arenas, contests, or jungles†¦Ã¢â‚¬ (Bolman and Deal p. 4) In the Political Frame all people in the organization are in constant competition to get ahead and one way to get ahead is to possess the power of information. In the Political Frame it is who and what you know and who you are willing to share your information with that gets you ahead. With all of the competition involved there is often conflict between those vying for power. The Political Frame sees communication as an opportunity to, â€Å"Influence or manipulate others. † (Bolman and Deal p. 307) As stated previously, Information if a powerful tool. In a Political Frame possessing information and having the ability to communicate that formation is key. The problem with Politics is that often information is used destructively rather than constructively. In an organization influencing and manipulating can and usually is a double edged sword. Finally in the fourth frame is the Symbolic Frame is a more organic frame that is seen organizationally as, â€Å"Tribes, theaters, or carnivals. It abandons assumptions of rationality more prominent in other frames. † (Bolman and Deal p. 5) This frame is not widely used because it is so free flowing and actually quite odd that it does not work well in many cases. However, the Symbolic Frame still address communication as a means to, â€Å"tell stories. † (Bolman and Deal p. 307) Telling stories is a way often used to pass along information. Many cultures use stories to educate the next generation and the stories contain information that is important for the next generations to k now and preserve. In organizations, stories, tales and fables should not be seen as appropriate sources of information. Basically, all the frames acknowledge that communication is an essential part of their make-up. The ability to communicate, whether through rules and procedures, meetings and networks or stories is very important in the day-to-day operations of your organization. I now offer a definition of communication as found in Webster’s Dictionary and I will use the definition to further explain the importance of communication and more specifically the communication of information through a coordinated effort. Webster’s Dictionary defines Communication as: : an act of instance of transmitting 2 a: information communicated b: a verbal or written message 3 a: a process by which information is exchanged between individuals through a common system of symbols, signs, or behavior b: personal rapport 4 a: a system for communicating b: a system of routes for moving troops, supplies, and vehicles c: personnel engaged in communicating 5 a: a technique for expressing ideas effectively b: the technology of the transmission of information. Since the beginning of time man has attempted to communicate and as a result communication has constantly been improved. Thoughts, events and information have been recorded and passed along in some form or another for centuries, so you can see how communication is an essential part of everyday life. Knowing this you have to wonder how do we effectively communicate with each other? The above question has become and will always be a huge topic in society. People spend millions of dollars a year on counseling and learning techniques to better communicate with each other. Many people have capitalized on this quest for better communication skills and have become supposed experts in the field of communicating. You hear everyday how you need to be able to communicate better in your relationships, with your friends, peers and in general with everyone. So I look to the above definition to better clarify what exactly is meant by the various definitions of communication as I interpret them. I will use three of the definitions above and concentrate eon how they tie in with the theme of the paper, which is coordination. 2 a: Information communicated. 3 a: a process by which information is exchanged between individuals through a common system of symbols, signs or behavior. Finally, 5 b: The technology of the transmission of information. I chose the above three definitions because they tie into a repetitive theme within communication and that is the passing of information. We have discussed in this class, throughout the term, that information is power and those who have information have a definite advantage. In an organization information is key to success. The organization that is able to establish a free flow of information will always be in a better position to succeed because they are in a position to be able to adapt more quickly in times where change is necessary. I am not suggesting that information always leads to change, because the information you receive could very well be that you need to continue what you are doing without changing. In particular I’d like to look at the second definition I chose which talks about information being exchanged through a common system of symbols, signs or behavior and I’d like to focus on behavior because the way your organization is aligned can ultimately affect your communicative behavior. In chapter three of Reframing Organizations we look see two types of coordination, which determine how information is passed and who processes it. The two types of coordination are Vertical and Lateral. Organizations that operate in stable markets and use a product that has little need for change are best suited for a Vertically coordinated organizational system. Organizations that operate in a turbulent environment and require constant change are best suited for a laterally coordinated organization. I will address both types and give an example of each below. In Vertical Coordination we see that the higher levels of management maintain control of information and regulate communications through establishing clear lines of authority, implementing rules and policies, and putting in place planning and control systems. By establishing authority the hierarchy appoints people such as executives, managers and supervisors to be in charge. This core group of people selected to have authority are, â€Å"†¦officially charged with keeping activities aligned with goals. They control by making decisions, resolving conflicts, solving problems, evaluating performance and output, and distributing rewards and sanctions†¦Ã¢â‚¬ (Bolman and Deal p. 51) I can use my own situation as an example of this. Working in Law Enforcement I fall under a chain of command. In the chain of command I have been appointed a Sergeant. As a Sergeant I am charged with the tasks explained above. I communicate and pass information and orders to my subordinates. I receive my orders form my Commander, who in turn reports to a Captain and it goes right up the chain until it reaches the Sheriff. Information is communicated vertically through the ranks. Our organization aligned very closely with a Structural Frame Format. Not much emphasis is given to the Human Resource Frame, as the needs of the individual are not as much of a concern over the needs of the organization. The Political Frame is limited because the information is coming from the top and being disseminated down the ranks. Information obtained in Law Enforcement is normally transcribed in report format and given out. Information that is important and not given out could result in legal action. There is no chance for the Symbolic Frame to exist because we do not communicate organically nor are we allowed to report in a story fashion. In our private lives we can tell stories and relay information, however on an organizational level we deal strictly with fact. I derive my Authority from the chain of command and am regulated largely by the Policies and Procedures manual that my organization has constructed. The policies and procedures manual gives detailed instructions how to carry out tasks, how to monitor employees performance and conduct investigations. So in my personal career I can see that my organization is Vertically aligned. Information is communicated up and down the chain of command in clear-cut lines. Lateral communication and withholding information is discouraged and can lead to sever punishment. Although new technology is often introduced, the mission of Law Enforcement stays the same. As a result Law Enforcement uses vertical alignment to get information out as quickly and uniformly as possible. The opposite of the vertical form is the Lateral Form of Coordination. In Lateral Coordination several different methods are used to communicate and pass information. Lateral Coordination involves meetings, task forces, coordinating roles, matrix structures, and network organizations to communicate and pass on information. The above listed structures are more flexible and fluid than that of a rigidly defined Vertically Coordinated organization. I will briefly touch on the different methods used in the laterally coordinated systems. Meetings are described as, â€Å"informal communication and formal meetings form the cornerstone of lateral coordination. † (Bolman and deal p. 53) Formal meetings are the normal way stable organizations go about communicating. Simple meetings can used be used to pass along large chunks of information as well as to address new business. As the organization grows in complexity and size, Task Forces are utilized. Task Forces are formed when, â€Å"†¦problems or opportunities require collaboration of a number of specialties or functions. † (Bolman and deal p. 54) Collaboration requires cooperation and cooperation can only exist when there is communication. A Task Force gets a group of specialized people together to accomplish an organizational goal. Coordinating Roles take the talents of individuals and spread them out to help persuade others to accomplish goals. An individual can monitor several different areas to help tie all componets together to make a finished product. Matrix Structures are used when the organization grows very large and crosses several different sectors of the business world. Matrix Structures are very complex and can add a lot of confusion to your organization, which is why they have been used so sparingly. Finally, Networks are now a very common communicative form in organizations. Networks have always been in existence and have grown in usage since the advent of computer technology. Computer networks have the capability of transmitting almost limitless amounts of information immediately to a large-scale group of people. Computer Networks are now one of the most valuable tools an organization can use to communicate. Since an organization that coordinates laterally is generally one that operates in a turbulent and often changing environment it is easy to see why communication is essential. Information must be gathered, analyzed, processed and disseminated as quickly as possible to ensure that you will be able to keep up. An example of an organization that suffered because it failed to properly communicate and respond is the Digital Corporation. Digital Corporation was a leader in the minicomputer industry, however when the market shifted form minicomputers to PC’s they were too tied up in a non-productive coordination system. As a result they wasted valuable time in making the transition to the new technology. The company began to fail and was subsequently bought out by Compaq computers. The technology field, computers in particular, is changing on a daily basis. If you are not able to communicate the need for change based on the information received form current market trends then you are doomed to failure. Digital is a prime example of this concept. All of the above methods of Lateral Coordination are effective, however as with any system there are weaknesses. You must ensured that your resources are being used appropriately and efficiently in order to successfully maintain a more loosely coordinated method, as seen in the Lateral Coordination methodology. When you are not strict and rigid in your controls you run the risk of giving people too much freedom in their actions. Lateral Strategies are effective, however they must be monitored. In Conclusion, the coordinated communication of information within an organization is a key determinate of success versus failure. An organization, even one in a stable environment, must be fluid when it comes to communication. A lack of communication has been shown to result in the untimely delivery of crucial information and since we have identified that information is power, a lack of information will then render you powerless. By employing sound coordination methodologies and organization can better respond to it’s environment. As the environment changes so must the organization. The best way to know if your environment is changing is by properly gather and processing information form the various areas you deal in. Once processed and analyzed the information must quickly be communicated through the appropriate channels to ensure that necessary changes can be made. A breakdown in any one of these areas can and normally will have devastating effects. Many companies have experienced this firsthand. Coordination, Communication and Information are three keys that an organization must embrace in order to survive.

7 Deadly Sins Of Fantasy :: essays research papers

Seven Deadly Sins of Fantasy Imagination is the key to the universe. In order for one to use it, they may create a world of their own. Fantasy literature uses imagination as its key source, and everyday life as its secondary. Not one element can bring a piece of the art form together. Society lives on both factors as well. Fantasy art can either make or brake a world, just by the ideas and thoughts that are used with the imagination. This fantasized world is mainly inspired by reality and especially religious beliefs. Considering that fantasy literature is one of the oldest works, that any period of history can relate to; many stories seem to be fictional, if analyzed they become parallel to any cultural society. The characters in fantasy art works may represent actual people in everyday life, for example an evil witch may be compared to a mean motherly figure. One major contribution to fairy tales is the religious influence of all societies. Gluttony, greed, sloth, envy, wrath, pride, and lust are the seven most deadliest sins of the Biblical universe, all these examples are related to the idea of temptation, which brings the fairy world happiness. Chesterton wrote, "The whole happiness of fairyland hangs upon a thread, upon one thread. Cinderella may have a dress woven on supernatural looms and blazing with unearthly brilliance; but she must be back when the clock strikes twelve. The king may invite fairies to the christening, but he must invite all the fairies of frightful results will follow. Bluebeard's wife may open all doors but one. A promise is broken to a cat, and the whole world goes wrong. A promise is broken to a yellow dwarf, and the whole world goes wrong. A girl may be the bride of the God of Love himself if Green 2 she never tries to see him; she sees him, and he vanishes away. A girl is given a box on condition she does not open it; she opens it, and all the evils of this world rush out at her. A man and woman are put in a garden on condition that they do not eat one fruit; they eat it, and lose their joy in all the fruits of the earth," (256). "Wrath 1: violent anger: RAGE 2: divine punishment," (Web. dictionary, 609), in other words, revenge. Take Snow White and the Seven Dwarfs, the wicked stepmother hated her stepdaughter with such anger that she became angry enough to commit violence.

Biography of Christopher Bruce Essay

Christopher Bruce was born on the 3rd of October 1945 in England, he started studying dancing at 11 years old, and he began with tap and ballet. After studying at the Rambert School Christopher Bruce joined Rambert Ballet in 1963, where he quickly became the leading male dancer. Bruce appeared in works such as Don Quixote in 1964 and Coppelia in 1966. Then the company began to experiment with ballet and modern, combining them to form, specifically the Martha Graham technique. (Martha Graham created 181 ballets and a dance technique that has been compared to ballet in its scope and magnitude. Many of the great modern and ballet choreographers have studied the Martha Graham Technique or have been members of her company.) When Bruce danced the role of Pierrot Lunaire, his own interpretive skills were noticed. Bruce was â€Å"dominating everything- practically living the part†. Bruce then worked with Glen Tetley, he discovered that â€Å"the motive for the movement comes from the centre of the body†¦ from this base we use classical ballet as an extension to give wider range and variety of movement† In 1977 he was appointed associate director of the company and was its associate choreographer from 1979-87, he created over twenty works for the company. Between 1986-91 he acted as associate choreographer also for London Festival Ballet, later ENB, and resident choreographer for Houston Ballet in 1989. In 1994 he became artistic director for RDC. Often political in his work, he integrates classical ballet and modern dance, often set against popular music by artists like Bob Dylan, Rolling Stones. His productions include ‘Cruel Garden’, 1977, ‘Ghost Dances’, 1981, ‘Swansong’, 1987, and ‘Rooster’, 1991. Influences Social and political themes emerge as naturally as a reflection of his own concerns, although his aim is always firstly to create a piece of dance, rather than to make a statement. Nevertheless, he does not see a conflict between creating interesting movement and tackling difficult issues. He believes that there is much beauty in Ghost Dances and similar works. Bruce is typically known for using themes that focus on personal or political issues. He has created abstract pieces but even these have a strong undercurrent of emotion. Bruce uses a wide range of starting points, particularly poetry, literature, music, newspaper articles and world events. For example ‘†¦for those who die in cattle’ reflects his views and concerns of war, ‘rooster’ is his idea of relationships, ‘swansong’ is probably one of his most moving and emotional pieces and tackles the very serious issue of torture. His views on the general human condition are portrayed in ‘waiting’. Throughout his career, Christopher has been a strong supporter of Amnesty International’s ideas and through his choreography he has voiced his concerns for society, the persecuted and victims of a wide range of human rights abuses. Time and again he has returned to these themes and in his most recent work â€Å"grinning in your face†, these concerns are articulated as powerfully as ever. The Arts have an important role to play in exploring social issues and dance can be seen as the most human of the Arts as it is based on the body. The image of the tortured prisoner from â€Å"swansong† or the unjust imprisonment of Reuben Carter, in â€Å"Hurricane† are far more powerful than mere words can ever be. Video extracts of Christopher’s work have been used to reinforce talks about human rights abuse. In the 1970’s the focus for Bruce was South America and Pinochet’s bloody coup against the elected Allende government in Chile. He was deeply moved on the meeting of Joan Jara, who was tortured and murdered by Pinochets forces. This meeting lead him to choreograph, Ghost Dances. He took the theme of the day of the dead, simple symbolism and indigenous dance movements as a basis to convey the plight of the innocent people of South American down the ages and their courage in the face of adversity. Certainly, Ghost Dances has a tremendous impact and audiences in many countries have delighted in its distinctive, rhythmic movement performed to haunting American tunes. However, it is the representation of the oppression of ordinary people, symbolised by the sinister ghost figures, which give the work much of its resonance. On the evidence of ghost dances, swansong, and cruel garden  (about the death of Lorca at the hands of the fascists in Spain), human rights themes have provided him with a strong source of inspiration. He remains a passionate advocate for the role of dance and the arts in society and believes that seeing good work and the chance to perform, either as an amateur or a professional, an not only enrich lives, but can also be civilising influence. Ghost dances It was created in 1981, and was influenced by the political oppression in Chile. The style was contemporary ballet blended with South American folk dance. The setting of Ghost Dances is a rocky Andean location suggesting the mouth of a cave. The colours (blue’s, greens and greys) of the backdrop were very effective and complimented the costumes and movement by adding to the eerie atmosphere. The whole stage was lit by a dim white light. The ‘dead’ wear everyday clothes, which are beginning to disintegrate. The Ghost Dancers appear as skeletal figures in striking skull masks. The piece is accompanied by Andiean folk music, with panpipes, guitars, and flutes. The tune is infectious, rhythmic and tuneful. The style of the choreography is sinuous and graceful, incorporating folk-dance influences. The Ghost dancers style of dance differs to the style of the ‘dead’. The Ghost dancers use very off balanced and angular Movements, there heads are the main key I think to making their dancing look as threatening as it does, they move them very quickly and sharply in unison and it creates a very menacing effect. The ‘dead’, on the other hand are very free flowing and graceful, their posture is very open chested and balletic with very neat but complex footwork. I loved this piece and the skills used to perform it. The fluid motion alongside traditional Chilean folkdance was original and inspiring to watch, it was a very moving piece and had a big impact on me because of the real life issues behind it. Swansong This piece was created in 1987 and was influenced by the fate of political  prisoners, the style was contemporary ballet and the prisoner’s movements were based on the idea of a swan. The piece is generally based around the fate of political prisoners and their need to break free. Swansong is a deliberately disturbing dance showing a victim being tortured by a variety of means, although there is no actual violence on stage. It shows both the aggressive and sadistic element of interrogation, and how brainwashing, humiliation and playing with emotions can all be part of a long, nerve- racking game. In combining vaudevillian humour, balletic virtuosity, and contempory dance expressionism with such a serious theme, he seeks to create work that can be appreciated at a number of levels by a broad audience. The three dancers are costumed archetypally and very much resembled the set, it was all very simplistic, with the prisoner in just a plain t-shirt and jeans and the two guards a re wearing vaguely militaristic khaki trousers and short- sleeved shirts could be viewed as policemen, soldiers, or guards. Programme notes have tended neither to give names to the characters nor to specify roles – choosing instead to simply list the cast and allow audiences to make their own interpretation. The prisoner uses a very graceful and flowing style of dance whilst in contrast the two guards dance in a modern, camp manner, highlighting even more the separation and difference between the guards and prisoner. The simplicity of the staging and ambiguity of the characters lends weight to its universality. The action could be taking place anywhere in the world. The stage is dark and bare with the exception of a single wooden chair lit starkly from above, indicating perhaps a single bulb-hanging overhead in an otherwise empty room. There are seven sections in swansong; each has a different theme and style.  ·Section 1, questions and answers. Throughout the first section the dance suggests the interrogators and victim playing a game of cat and mouse, the dance changing from trios to brief duets and solo’s. in the duets the interrogators dance in unison, performing the same material one after the other or slightly varying the steps to attack their victim.  ·Section 2, tea for two. The section section begins with another interrogation session during which the second interrogator walks round his seated victim, and this time the victim taps out ‘answers’ but in a defiant  mood. The interrogators change tatics.  ·Section 3, first solo. The third section is a solo for the victim alone on the stage and it is more lyrical both in music and movement than the proceding sections. It contrasts with the torture previously shown, appearing to be a cry of frustration and anger at the victim’s situation as well as evoking his urge for freedom.  ·Section 4, slow trio. The victim immediately tenses and flinches as the first interrogator reaches towards him, and then relaxes when he is not harmed. No questions are asked. Again the opening sequence is performed twice but at the end of the chair is moved so that the victim cannot return to it. This becomes a recurring theme of this dance; the victims chair is repeatedly pulled away from under him or placed just beyond his reach. He is pushed and thrown around, the effect of the violence is in slow motion. The victim curls defensively on the floor and is uncurled by the second interrogator and the torture continues.  ·Section 5, second solo without accompaniment. Although this section repeats dance motifs from the first solo such as the jumps and arabesques suggestive of flight, it is generally more mimetic. The victim lifts the chair onto his back to make it appear he is carrying a huge weight on his shoulders. He then stands facing the audience staring through the bars of the chair, then he appears to crumble in frustration and the solo ends with his ankles trapped in the bars of the chair as if fetted.  ·Section 6, cane dance. The progression of the piece shows a build up of abuse and humility of the prisoner till the final section where the prisoner performs his last solo, his ‘swansong’. Rooster This piece was created in 1992 and in contrast to my other two chosen pieces  is influenced by the Rolling stones; the dance is based on the theme and context of the music. It is danced in a contemporary ballet style blended with modern dance to match the music. The set is a clear stage with naturalistic lighting and a white spotlight. The women wear black skirts, tops and tights and the men wear black trousers and a skirt, a red dress is worn only in one number and that is ‘ruby Tuesday’. The whole piece is danced to rolling stones music ranging from upbeat fast and rocky numbers to slower more relaxed music. The theme of each song in ‘rooster’ reflects the character that is dancing it, none of the dances are linked, and each section occurs simply because of the different songs that are used, this helps to create an episodic structure. The tempo of the music dictates the style of dance; the faster tracks are modern and contemporary whilst the slower ones are more balletic. This piece does not present a great deal of emotional involvment with the audience; it is simply based on the theme and context of the music. You can see this by the fact that the dancers, the style of dance and the music purely dictate the song. A Time line of dance works which have been choreographed and produced by Christopher Bruce  ·1969 George Frederic  ·1972 ‘†¦for those who die as cattle’  ·1974 Weekend  ·1975 Ancient voices of children  ·1976 Black Angels  ·1976 Promenade  ·1977 Cruel Garden  ·1981 Village Sounds  ·1981 Ghost Dances  ·1984 Sergeant early’s dream  ·1984 Intimate Pages  ·1985 Silence is the end of our song  ·1985 Land  ·1987 The dream is over  ·1987 Swansong  ·1989 Symphony in three movements  ·1990 Journey  ·1992 Rooster  ·1995 Meeting point Section B Producing our own piece of choreography in the style of Christopher Bruce in groups. How has the work of the choreographer influenced and inspired my own performance and choreography? I chose Christopher Bruce because of the influences behind his choreography, the real life human rights issues that through symbolism he has transferred this into dance. He has successfully brought more awareness to serious issues that most people would not be aware of because it is not going on in  this country. The fact that this affects Bruce personally is very inspiring, as his pieces have real meaning and thought behind them. The three works by Christopher Bruce that I have chosen to study are ‘ghost dancers’ and ‘swansong’ because of the political human rights issues that influenced them and ‘rooster’ because it was a contrast to the other two as its influence was the celebration of the Rolling Stones music. I thought these pieces complimented each other well to evaluate as each bears a large variation of accessible motifs, images and sequences of movement that I could re- interpret in my choreography in the style of Christopher Bruce. As it gave me the opportunity to analyse a variety of influences and issues behind the three pieces. Choreographic notes We choreographed a piece for a trio in the style of ‘rooster’. The set was clear other than three chairs that were used within the dance. We were dressed all in black and wore red scarfs round our necks. The lighting of the set was dark red.

Native Americans During The European Settlers - 920 Words

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