From the introduction:

Some people enjoy walking in the fog more than others do, and their professions address uncertainty differently. Many artists constantly live and work in frames of uncertainty, but organizations are usually designed to create a sense of clarity and predictability, so neither managers nor employees tend to feel comfortable with journeys into uncharted territory at work. Exploring and pushing boundaries is what artists do  but not usually inside organizations and alongside employees. Therefore, all the participants in an artistic intervention in an organization are embarking on a journey whose process and destination are both new and different each time. When artists and members of an organization decide to travel together, they have the opportunity to discover something new because they have to chart out a fresh way towards places that cannot be precisely defined in advance. In the article, I offer glimpses into three such journeys, drawing on interviews, observations, email-exchanges, and a survey I conducted in companies in three countries (Eurogroup Consulting in France, Paroc AB in Sweden, EUVE in the Basque region of Spain). Each of them recently engaged with artists over several months in different ways, for different reasons, and with different results. I present the cases from the perspectives of the managers, employees and artists in three steps to illustrate first how opportunities for learning adventures begin, second how the itineraries take shape, and third what kinds of value the participants discover when they look back on their journey. I then introduce some of the guides who are helping people from the world of organizations and the world of the arts to embark on the adventure and to get the most value out of their journey. Dear Reader, you will find the journey in this chapter unusual, some of you may even be uncomfortable, because I have chosen to break out of the traditional writing format. In keeping with the theme of travelling into unknown territory, I offer you the opportunity to keep discovering different perspectives and possibilities by moving between the stories of the different travelling companions. There are signposts along the way, but you receive no authoritative, footnoted guidebook from me to tell you what other experts have written on the subject of working in and between the worlds of art and organizations. You will reach more familiar ground in the last section, in which I reflect on how we social scientists can learn from these diverse experiences.