Archive for the ‘Education’ Category

GameChangers Glossary, O to Z

Wednesday, August 25th, 2010

Adapted from GameChangers–Improvisation for Business in the Networked World, by Mike Bonifer:

Objective–The desired outcome of a scene; the focus of a scene; the business goal of a scene; one of the four elements of a Game

Opening–An ‘overture’ prior to a scene or series of scenes in which a player or a group develops the themes for a performance; usually begins with a suggestion from the audience

Organic Opening–A style of group opening in which a ‘stream-of-consciousness’ dialogue and/or actions identify the themes for a performance

Organizational Environment–The overall physical presentation of a business to its audience; the ’stage’ upon which a business performs; includes exteriors, interiors, wardrobe, lighting, transportation, ambient noise, air quality, etc. etc.

Pandering–A performance-related problem that occurs when a player appeals to an audience’s basest instincts; in improv comedy, this is known as ‘going for the easy laugh’

Performance–The actions taken by a player or group to achieve an objective; a scene or series of scenes designed to earn the audience’s approval and achieve an objective; participation in a game; the object of analysis  (by a coach/manager and/or audience) of a group’s effectiveness; an improvised scene or series of scenes; the effectiveness of a brand’s narrative in the marketplace

Pimping–A performance-related problem that occurs when a player makes an unreasonable demand or sets unreasonable expectations of other players; setting up a scene partner to look bad; asking a scene partner to perform in a way that conflicts with the scene partner’s role and/or character.

Play–Participation in a game; spontaneity; full engagement with one’s environment and scene partners; a design for achieving positive outsomes from unforeseen circumstances; performance; the enjoyable, shareable and scaleable pursuit of an objective; (see Improvisation)

Player–Anyone who plays a role in a scene; one who collaborates with others to achieve an objective; one whose work is informed by a sense of play; improviser

Quantum Narrative–The flow of experience, perception and communication–both conscious and unconscious–in which all living things participate;  a thematically-connected definition of these experiences, perceptions and communication; the material from which linear (i.e. ‘Newtonian’) narratives get produced

Role–The set of job-related responsibilities and duties for a specific player within a scene; unlike Character, roles can vary from scene to scene, and can also vary in terms of status; playing a role is often colloquially referred to as ‘wearing a hat’; one of the four components of a Game

Scene–Any interaction between two or more players who share an objective

Scene Partner–Anyone with whom a player interacts during a scene; a teammate

Scenic–Description of an environment that is rich with visual information and objects of inspiration

Scripting–A performance-related problem that occurs when a player plans how a scene will go beforehand; the imposition of one player’s narrative on the other players in a scene; dogmatic then sticks to the ‘script’, even if unforeseen events within the scene call for actions different than those planned

Scripter–A player who goes into a scene with his or her mind mind up about what the scene should be; a player who imposes his or her narrative on other players; the worst thing you can call an improviser

Spolin, Viola–An educator, community activist, author and theater director (1906-1994), who, along with her mentor, Neva Boyd (1876-1963), established the game-based theories and practices upon which GameChangers, and much of modern improv theater, is built; ‘the godmother of modern improvisation’; the author of the seminal textbook, Improvisation for the Theater (1963; U. of Chicago Press); Spolin’s son, Paul Sills (1927-2008), used his mother’s techniques to modernize and commercialize comedia del arte as ‘improv comedy’ through his work at the University of Chicago as co-founder of the Compass Players and as the co-founder and original artistic director of Second City Theater

Status–The level of authority associated with a player’s role in a scene; in Industrial models, status did not change from scene to scene, the CEO, for example was high status in every scene he or she (oh wait, we said Industrial, make that just ‘he’) was in; in the Networked Model, the CEO’s (or anyone else’s) status can range in status from scene to scene.

Status Games–A genre of usually unproductive games in which defining and preserving status is the objective; includes games such as ‘Kissing Ass,’ ‘Who’s Going to Tell Him He’s Wrong?  (Not me!)” and “I’m The Decider”; these games usually need excessive follow-up, as reality must catch up to the fictions generated by managers who focus on status instead of objectives that can be shared by the group

Story–The historical artifact that emerges from the playing of a game; the arc of a scene or performance, often said to consist of Beginning, Middle and End; the ‘Newtonian narrative’ that results from interaction with a Quantum Narrative; a snapshot in time of narrative flow; narrative history; an artifact produced by engagement with one’s art; the historical record of a player or group’s interaction with its environment

Suggestion From the Audience–Any idea or piece of information given to a group prior to a performance by those who will judge the effectiveness of that performance; includes market research, customer relationship management, results of spidering and other listening technologies; organizational imperatives; brand statements; directions from manager/coach, etc.

Symbolic Movement–Meta communication that moves a narrative forward

Theme–An idea inspired by a suggestion from the audience and generated in an opening or first scenes in a performance; the idea whose exploration provides the conceptual and narrative ‘glue’ for a performance; that provides the inspiration and foundation for a scene or performance

Upstaging–A performance related problem that consists of of stealing focus or negating the contributions of another player to make yourself look better; trying to good at someone else’s expense; blocking the audience’s view of another player in a scene

Yes and, Yes anding–Accepting a scene partner’s reality or declaration, then adding useful information or contribution of your own in order to arrive at a new idea or reality shared by the group; a shorthand phrase that describes the most fundamental concept of improvisation, the agreement between players that results in transformation

Zone, in the–see ‘Group Mind

THIS IS A LIVING LIST; PASS IT ALONG AND ADD TO IT, AS WE WILL CONTINUE TO DO HERE AT GAMECHANGERS.

The Terrible, Horrible, No Good, Very Bad Game

Friday, August 6th, 2010

FROM THE HUFFINGTON POST…

In tangling with a subject that’s loco, one runs the risk of going loco oneself. It’s probably why I’ve been struggling with this post, to the point of being driven crazy by it, for a week. Here we go, this time for sure, hoping that some semblance of sanity awaits you and me on the other side of the exercise.

The ‘Wall Street Game’ is destroying the economy. The end? Okay, on the chance that it’s not, that there’s still hope for dealing successfully with the godzillagram knocking on our door, let’s, just for the torture of it, keep going…

The game played by Goldman Sachs and all the predatory satellites in its system goes beyond crooked. It’s criminal. And worse than criminal, it is a crime that can’t be prosecuted. Here’s why: The game has been designed so that it cannot be played by human beings. It can only be played by programs. In milliseconds-long synapses of electrons that can be parsed only by machines, programs perpetrate crimes with no witnesses, no fingerprints, no conscience, no heart. The humanity, and along with it, the culpability, has been bred out of these programs. They are pure, unassailable, law-unto-themselves, math. Data for data’s sake. Programs designed to interact with other programs without any of the patience, tolerance or thought that will give a human being pause.

WebOfDebt1The originators of these programs are as guilty of their crimes as Smith & Wesson are of the next murder committed with one of their handguns, which is to say they cannot be held accountable. “That’s just the way the game is played,” say the originators. Exactly. This does not mean, however, that the way the game is played is any good, or helpful to the 95% of U.S. households that, together, control as much wealth as the top 1% do. What the programmers call ‘innocence,’ and ‘what no one could have anticipated,’ and ‘God’s work,’ is actually ignorance by design. What comes across as confidence is actually just a con. On Wall Street, nobody really knows anything. The machines are in control. So don’t bother asking.

Here is a good explanation by Ellen Brown of how the Wall Street game is rigged. Brown, author of Web of Debt: The Shocking Truth About Our Money System and How We Can Break Free, does an excellent job of unmasking the mechanics of the game that swings advantage toward the casin–errr–banks. She points a finger in particular at High Frequency Trading (HFT) software (I didn’t know its code originated with the Hollywood Stock Exchange of the dotcom era. Interesting.) that gives Wall Street’s traders the ability to make money in thousandths of a second with programmed trading.

I call this game ‘Global Owning without Local Consent.’ Go Loco, for short. It’s just that crazy.

Because it relentlessly seeks victims to separate from their money like hustlers of a quantum three-card monte game, Go Loco systematically destroys the potential of money to be productive. Money is too busy changing hands and getting hustled to be put to work any other way. In this game, money talks only to itself, like a patient in an asylum.

We see the outcomes of this insanity all around: Foreclosures on every block; constant and permanent erosion in the jobs market; crippling household and national debt; crumbling infrastructure; broke education systems; a dispirited class of permanently unemployed. The game saps entrepreneurship of its passion by punishing risk-taking. It smothers human creativity with machine rationality. Because it is based on consumption, it regards sustainability as an enemy. Because it is pure data, it has no resonance as a narrative. No soul. It is a cousin to the game played by people who sit under a mountain in Utah and fly drones that blow up villages halfway around the world. Hey, it’s all just a game, right? Yes, it is. A terrible, horrible, no good, very bad one.

At GameChangers, we define a game as consisting of Rules, Roles, Environment and Objective(s). Here’s a breakdown of the Go Loco game in terms of these four elements:

Terrible Rules:
The rules of a productive game are known by all its players. This is not the case with Go Loco. Far from it. Its rules are so opaque and complex that no one holds an entire playbook. Its most significant rules are programmed like a virus (with no known antidote) to infect every significant, or anomalous, movement of money across the networks that carry financial data. The rules do not determine or care where the money is going, any more than a rattlesnake cares where a mouse is taking a kernel of corn. They are designed only to sense movement like the snake senses the mouse, then, like the snake, strike with blinding speed. The rules are machine-enabled executions of that old business bromide, “Follow the money.” With the added instruction: “And when you catch the money in an unlit alley, jack it and get some.”

Horrible Environment: Viola Spolin, the godmother of modern improvisation, said, “Act on environment, and environment will act on you.” Because the environment for the Go Loco game is ‘inside machines,’ those who ‘act on’ the game naturally begin behaving like machines themselves. The tasteless offices in which they work, the sameness banality of their attire, their fear of creative disruption, and their relentless calculating for advantage, all reflect the electronic latticework across which these players crawl like spiders on crack. Because players’ insides have a machined sameness to them, extra emphasis is placed on surface labeling, on cosmetics and appearance. How you appear becomes much more important than how you actually are, because how you actually are is so…unremarkable. All you talk about is money. Give a man a billion dollars and try talking to him about anything but the billion dollars. It can’t be done.

No Good Roles: Wall Street’s game is to business what pornography is to sex. Don’t for a second believe it has anything to do with love, or with having a relationship. It’s all about volume, baby. It’s as real as reality TV. What do we have that we can sell? How many units can we move? When the autistic boy who senses the world at different frequencies than you and me puts his hands to a machine running a program playing the game, the voice he hears will be saying, “Faster, pussycat, kill, kill!” Is it pure coincidence that Lawrence Fishburne’s daughter sold herself to the Matrix? Or did she hear the voice, too, and simply obey its instructions?

Very Bad Objectives: In improvisation, a game’s objectives are win/win. All the players benefit from the communication, learning, and transformation that result from playing. The Go Loco game is, by contrast, win/lose. Bigtime.

A lot of people will tell you winning and losing is inherent in the nature of trading, someone wins and someone loses, and the objective is to win more than you lose, and that this dynamic drives markets. There are two problems with excusing the Go Loco game for this reason: 1) It ignores the power of collaboration, which is where most of the growth potential exists in the networked business environment; and 2) in this game, the winners win so much (when’s the last time you made $28,000 in milliseconds? For doing nothing?) and the losers lose so much, the game produces extreme cycles of bubble-and-burst, of richer-and-poorer, that only promise to get more extreme, because the more the Go Loco programs eat, the hungrier they get. It is a zero sum game they play, and they will play it until the sum of all accounts not controlled by the programs is zero.

Now what? The big problem we have now is that in one breath we can find agreement that the current game is rotten, in the next breath we will be arguing over what to do about it, and as long as we’re arguing, the rottenness persists. The way to break through this dilemma is to quit worrying about what the new game should be and focus on changing the old one. One way to begin changing the old game is by changing the conversations we have:

From being about money, to being about how money is put to work.
From consumption to sustainability.
From fast food (or fast anything) to local food (or local anything).
From destination to journey.
From connecting the dots to connecting.
From owning the story to sharing the story.
From programmed to human.

Make moves that programs cannot see, with a gait that describes the glorious, inchoate lurching of love! Trust your intuition! Express what’s in your heart instead of your head for a change. Howl with your dog! Prove that it is we, and our beautiful gift of a planet, and not the programs, who are truly alive! Change the game!

Peter Arvai’s Unexpected Prezi Scene

Monday, July 26th, 2010

SCENE:   Not long ago, I attended a presentation by Peter Arvai, the co-founder and CEO of Prezi, a Flash-based app we use as often as we can as an alternative to PowerPoint.  The presentation was attended by a mix of students, young professionals and educators, maybe 40 people in all.

Arvai1_CaptionArvai’s presenation rambled all over the place.  He seemed to have no one particular point he was driving at.  Frequently, he’d turn his back to the audience, look up at his Prezi projected on a large screen, scratch his head, and navigate around the Prezi until he found the next thing he wanted to talk about. Sometimes he got a little lost as to where in the Prezi he could find what he was looking for.

On top of the seeming incoherence of his story, Arvai, as a Scandanavian by upbringing, isn’t what you’d call an animated personality type.  His voice has a pleasant, sing-songy quality, like small waves lapping at a dock on a lake. His performance style doesn’t have that build-build-build-bada-bing! quality that TV packages into bites like Nabisco packages cookies.

Afterward, outside the room, I heard people panning the presentation.  “Boring.” “You’d think he’d have it more together.”  “I can’t believe that guy’s the CEO!”

The people who were disappointed were looking for a particular form or style from Arvai, and probably looking to be entertained for an hour by a showman, a pitchman, a visionary, a clown, or a pundit.  None of that materialized, so waaaah!  They were like children who didn’t get the toys they wanted for their birthdays.

These people, I think, missed the gift Arvai gave them:  He showed himself learning! It was one of the most interesting and disarming games I’ve ever seen a CEO play in a presentation.  To show the audience how one uses Prezi, he was willing to get himself lost in it.

In a totally unforced and improvisational way, Arvai showed how putting Prezi to best use means working with themes, chipping away and shaping them to a narrative, purposefully getting lost in the material so that you can find meaning in it, as if the information you put on the Prezi screen is a stone and your narrative is a sculpture.

I thought it was brilliant.  Another thing I liked about his presentation is that it was conversational, which was good for the relatively small room we were in.  Arvai showed that ‘always-on’ doesn’t have to mean always being the center of attention.  You can be ‘always on’ if you step onto the stage as if a conversation were taking place before you got there and you’re joining it.  That way of ‘always performing’ is more genuine and easier on the life of your batteries than if you have to crank up the voltage every time you step in front of a group of people to talk about your product.

Our friend Barbara Groth, CEO of the design company, Big Buddha Baba, put something on her Facebook profile earlier today that seems to applie to Arvai’s prezi:

“Whatever it is you’re seeking won’t come in the form you’re expecting.”
— Haruki Murakami

Imp

Thursday, July 15th, 2010

Because it is so tightly tethered to comedy, we almost never use the word ‘improv’ in relation to GameChangers (unless we’re referring to actual comedy improv).

We do, however, use the word ‘imp.’  I have always associated the idea of impishness–of being playfully mischievous–with improvisation and even sometimes refer to improvisers as ‘my fellow imps.’  While waiting on a Skype call this morning with Hildy Gottlieb of Creating the Future, I decided to look up the roots of the word ‘imp.’

Turns out that ‘imp’ comes from an entirely different strain of language than ‘improvise,’ which is derived the Latin root ‘improvisere,’ meaning ‘not foreseen.’  ‘Imp’ has Old English roots, a little Latin attribution.  Yet there’s a lot of overlap, like a family from Naples and one from Nottingham having a lot in common.

Here’s how the TheFreeDictionary.com, an aggregator of print dictionary listings, defines it:

imp (mp)

n.

1. A mischievous child.
2. A small demon.
3. Obsolete A graft.
tr.v. imped, imp·ing, imps

1. To graft (new feathers) onto the wing of a trained falcon or hawk to repair damage or increase flying capacity.
2. To furnish with wings.

[Middle English impe, scion, sprig, offspring, from Old English impa, young shoot, from impian, to graft, ultimately from Medieval Latin impotus, graft, from Greek emphutos, grafted, from emphuein, to implant : en-, in; see en-2 + phuein, to make grow; see bheu- in Indo-European roots.]

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.


imp [ɪmp]

n

1. (Myth & Legend / European Myth & Legend) a small demon or devil; mischievous sprite
2. a mischievous child
vb

(Individual Sports & Recreations / Falconry) (tr) Falconry to insert (new feathers) into the stumps of broken feathers in order to repair the wing of a hawk or falcon

[Old English impa bud, graft, hence offspring, child, from impian to graft, ultimately from Greek emphutos implanted, from emphuein to implant, from phuein to plant]

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

ThesaurusLegend: Synonyms Related Words Antonyms
Noun 1. impimp – (folklore) fairies that are somewhat mischievous

folklore – the unwritten lore (stories and proverbs and riddles and songs) of a culture
faerie, faery, fairy, fay, sprite – a small being, human in form, playful and having magical powers
leprechaun – a mischievous elf in Irish folklore
sandman – an elf in fairy stories who sprinkles sand in children’s eyes to make them sleepy
2. impimp – one who is playfully mischievous

child, kid, minor, nipper, tiddler, youngster, tike, shaver, small fry, nestling, fry, tyke – a young person of either sex; “she writes books for children”; “they’re just kids”; “`tiddler’ is a British term for youngster”
brat, holy terror, little terror, terror – a very troublesome child

Based on WordNet 3.0, Farlex clipart collection. © 2003-2008 Princeton University, Farlex Inc.

imp

noun

1. demon, devil, sprite He sees the devil as a little imp with horns.
2. rascal, rogue, brat, urchin, minx, scamp, pickle (Brit. informal), gamin I didn’t say that, you little imp!

Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition. 2002 © HarperCollins Publishers 1995, 2002

imp [ɪmp] Ndiablillo m (fig) → diablillo m, pillín/ina m/f

Collins Spanish Dictionary – Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005

imp [ˈɪmp] n

(= small devil) → lutin m
(= child) → petit diable m

Collins English/French Electronic Resource. © HarperCollins Publishers 2005

imp

nKobold m; (inf: = child) → Racker m (inf)

Collins German Dictionary – Complete and Unabridged 7th Edition 2005. © William Collins Sons & Co. Ltd. 1980 © HarperCollins Publishers 1991, 1997, 1999, 2004, 2005, 2007

imp [ɪmp] n (small devil) → folletto; (child) → diavoletto


imp [ɪmp] n (small devil) → folletto; (child) → diavoletto

Collins Italian Dictionary 1st Edition © HarperCollins Publishers 1995

imp

n imp [imp]

1 a small devil or wicked spirit. kwelgees عِفْريت дяволче čertík, skřítek lille djævel; trold das Teufelchen διαβολάκι diablillo kuradike بچه جن؛ شیطانک pikkupiru diablotin שֵׁדוֹן छोटा प्रेत या पिशाच vražićak kisördög setan kecil púki diavoletto 小悪魔 꼬마도깨비 velniūkštis velnēns anak syaitan duiveltje smådjevel, djevelunge chochlik diabrete drăcuşor чертёнок škriatok vražič vragolan smådjävul ภูตน้อย; ปีศาจน้อย; เทพธิดาน้อย küçük şeytan 小魔鬼 чортеня, бісеня بھتنا tiểu yêu
2 a mischievous child Her son is a little imp. kwajong وَلَدٌ عفريت ، مُشاكِس пакостник rarášek, nezbeda spilopmager der Schelm διαβολάκι, άτακτο παιδί diablillo, pillo võrukael بچه تخس vintiö petit diable שוֹבָב बच्चा, शैतान बच्चा nestaško huncut kölyök anak nakal óþekktarangi diavoletto いたずらっ子 악동 velniūkštis draiskulis; nebēdnis budak nakal deugniet trollunge, skøyer diabełek diabrete drac împieliţat озорник nezbedník porednež obešenjak satunge เด็กซุกซน yaramaz çocuk 頑童 пустун شریر بچہ đứa trẻ tinh quái

adj impish

——————————————————————————————

GameChangers summary:  Both ‘imp’ and ‘improvisation’ express themes of playfulness, the getting of wings, a childlike view of the world, and a mischievous spirit that results in some kind of transformation.  Like improvisation, the imping that describes a plant graft builds on an existing reality.  Impishness isn’t a seed.  It is a branch grafted onto the existing reality of the tree.  It isn’t a new wing, it is adding feathers to a bird that already has wings.

Growth, flight, magic.   What fantastic themes these are.  Imp on!

Who Is Josh Weinstein?

Monday, June 21st, 2010

On his excellent MBAStoryteller site (yes! more MBA storytellers!) Nabil Laoudji, who’s in the Sloan MBA program at MIT, posted this 2006 video by Josh Weinstein.

Weinstein’s video demonstrates brilliantly how our perceptions shape our opinions.  That’s the obvious learning.

There are other, subtler ideas expressed in this video, too, which is why I really dig it.  It has lots of subtext:

The absence of knowledge makes perceptions more malleable. Because Weinstein is unknown to his subjects, slight adjustments in his appearance seem to cause wild fluctuations in perceptions (the edits themselves also shape perception, but I’ll comment only with subjects’ behavior here).  Anyone or any brand that seeks to limit knowledge?  This is why.  Manipulation of perceptions.  In a business environment where knowledge is so easily shared and transferred, limiting knowledge in order to manipulate perceptions is not good business.

Consistent character encourages learning. Weinstein’s character, a slightly bemused, inquisitive observer of human nature, seems consistent throughout.  As a storyteller, he uses this truth to get honest reactions from his subjects—that is, because he’s consistently in character, we can be pretty sure the subjects’ reactions are their own, and not something he has manipulated them into doing   Imagine if, instead, he’d played different characters in the interviews—aggressive, stupid, coy, flirty—we would not have been half as interested in or trusting of what his subjects had to say.  He and we would not have learned half as much.

Interrogation is not dialogue. The questions all go one way.  Weinstein does this to control the narrative and make a point.  Generally, however, dialogue is much more productive than interrogation.

This is what a lot of market research looks like. Like market research, Weinstein’s film is a series of snapshots.  It is an interrogation of the audience, not a dialogue.  Because of the way the interviews are conducted, the audience’s multi-faceted responses are nearly all flawed.  It doesn’t matter how much data you have if its facets are flawed and unrelated.  Many facets do not a diamond make. It is the interrelationship of the facets, their connection to one another, that illuminates the stone.

Admit your ignorance. Nearly everyone in the video is willing to guess about Weinstein’s identity, and in doing so they accept a ‘rule of the game’ that underscores their ignorance.  This is a fine storytelling device for Weinstein’s video, but it’s a toxic game in business.  For some managers, however, this is THE  game.  A conversation consists of them waiting for a ‘gotcha’ moment, when they can prove you wrong, ignorant, or both.  People pretending to know what they’re talking about are just as much to blame for this game as those who expose them.   Beware of games designed to show up anyone’s ignorance!  Admitting your ignorance is a first step toward learning.  Guessing, or faking knowledge, is not.  Ultimately, Weinstein’s video delivers the goods in the form of questions answered, but not before he demonstrates just how elusive the goods can be.

Harpo’s Rules

Sunday, June 20th, 2010

Harpo1Underneath his fright wig and his goofy screen persona, Harpo Marx was one beautiful human being.  In his autobiography, Harpo Speaks, he lists his family’s rules.  It’s some of the wisest advice a father ever gave his children:

1.  Life has been created for you to enjoy, but you won’t enjoy it unless you pay for it with some good, hard work. This is one price that will never be marked down.

2.  You can work at whatever you want to as long as you do it as well as you can and clean up afterwards and you’re at the table at mealtime and in bed at bedtime.

3.  Respect what the others do. Respect Dad’s harp, Mom’s paints, Billy’s piano, Alex’s set of tools, Jimmy’s designs, and Minnie’s menagerie.

4.  If anything makes you sore, come out with it. Maybe the rest of us are itching for a fight too.

5.  If anything strikes you as funny, out with that too. Let’s all the rest of us have a laugh.

6. If you have an impulse to do something you’re not sure is right, go ahead and do it. Take a chance. Chances are, if you don’t you’ll regret it–unless you break the rules about mealtime and bedtime, in which case you’ll sure as hell regret it.

7.  If it’s a question of whether to do what’s fun or what is supposed to be good for you, and nobody is hurt by whichever you do, always do what’s fun.

8.  If things get too much for you and you feel the whole world’s against you, go stand on your head. If you can think of anything crazier to do, do it.

9.  Don’t worry about what other people think. The only person in the world important enough to conform to is yourself.

10.  Anybody who misteats a pet or breaks a pool cue is docked a month’s pay.

Hope your Father’s Day was as happy as mine!

The Power of Pull

Wednesday, June 16th, 2010

This is not a review.

This is an appreciation.

PoP_CoverJohn Hagel III, John Seely Brown, and Lang Davison’s new book, The Power of PullHow Small Moves, Smartly Made, Can Set Big Things in Motion, describes the business environments most of us are living in these days:  fluid, complex, generative, with networks, not machines, as their framework.  The book itself reflects this.  Its structure mirrors the structure of a network.  Its concepts are expressed as a matrix.  This gives the Power of Pull depth and perspective that asks quite a bit of the reader.  I had to go through the book twice to even begin to grasp its concepts and their implications to business.

The reading expands as you’re reading, as if you could stop at almost any page in the book and use it as a lens to zoom in on some aspect of business in the 21st Century.  What will it be like?  How will it change us? How can we change it? Who will prosper? What will hold us back? What’s the relationship between chaos and control? Between core and edge? It’s a lot to ponder.  This is not some fluffy recipe for feeling good about the future.  This is an important assessment of the work to be done.

The Power of Pull labels this evolution ‘The Big Shift.’  Make no mistake, The Big Shift is a life-altering change of game.  It is the tornado to Oz.  It is the jump to hyperspace.  It is the event that turns everyday turtles into Ninjas.  Prepare to be transformed by what you read.

Here’s a small sampling of the many concepts expressed the book that can make the difference between survival and prosperity in the networked era of business.

Push vs. Pull. ‘Push’ business models are (the GameChangers term for it) ‘Industrial Age’ models.  They are machine-like, hierarchical, heavily scripted, and emphasize planning over preparation. As one manager told me recently, “We are supposed to plan for every contingency, but you can’t plan for every contingency.  It’s impossible.”  ‘Pull’ models, by contrast, are dynamic, nimble, and emphasize preparation over planning.  In the Pull model, plans are designed to evolve, and deviations from the norm are seen not as failures but as opportunities to learn and grow.

Stocks vs. Flows. Push models treat knowledge as a scarce commodity.  A stock.  A ‘Push’ manager says, “I know but I can’t tell you.”  Pull models treat knowledge as an abundant resource.  A flow.  A Pull manager says, “Here’s what I know that can help solve the problem.”

Fast Learning. Push models called for standardized institutional learning.  Everyone worked off the same playbook.  In the networked world, there’s no time to transfer knowledge from edge to core, have it interpreted, codified and re-distributed to the edge as institutional dogma.  By the time the core has reacted, the opportunity to put the knowledge to use has been lost.  Because they treat knowledge as abundant and not as a scarce commodity, Pull models are free to direct flows of knowledge not just to the core, but to wherever in the enterprise there is a problem to be solved.  This is a far more efficient way for a company to apply its knowledge than the old Push model.

Small Moves. As improvisers we learn that the little things can make the biggest difference to performance, because the little things that have the ability to expand into big things, and the audience loves this.  Big things, by contrast, can only get so big as to be unmanageable, or be broken down into manageable chunks.  The small moves have manageability built into them. Networks are designed to knit together small moves into significant phenomena.  When communication is significant, markets move.   And when markets move, money gets made.

Serendipity. (I neglected to include this in the original post, and it’s important.)  Serendipity is an unforeseen positive outcome.  Because networks contain infinite potential for serendipity, it is essential to take it into account in the Pull model, as Hagel III et al certainly do.  Improvisation can influence serendipity in two ways:  First, because unforeseen positive outcomes are what improvisers intend in every scene, it invites serendipity; second, it is a process for turning the unforeseen events into positive outcomes.   Push models automatically regard what is unforeseen as negative.  Pull models (and improvisers) greet what is unforeseen as an opportunity to make something positive happen.

What JSB, Hagel III and Davison describe in The Power of Pull is a kind of magnetism.  The cover of the book shows iron filings aligning along magnetic fields.  This is my one quibble, what I’d call a slight disconnect in their narrative:  If The Power of Pull is, in fact, meant to describe magnetism, then the concept of Push can’t be discounted or discredited quite so much as the authors seem to want.  Magnetism involves both Pull and Push, attraction and repulsion.  There is a relationship between the two.  Just because we are divorcing Push to marry Pull doesn’t mean we’ll never deal with Push again.  We had kids with Push.  We built some wealth together.  As the authors themselves point out in the book, without a core there can be no meaningful edge.  Push will never be entirely out of the picture.

There is a whole new language coming into existence to describe business in the networked world.  This language invokes new rules, like the 140 characters rule; and defines new ways of collaborating, like the crowdsourcing game.   The Power of Pull freshens the lexicon by describing how and why business is changing, must change, to prosper in the new realities made possible by networks.  If, as I believe, this is magnetism we’re talking about, the work of realizing the new realities will consist in equal parts of rejecting the negative, attracting the positive, and not messing with the in-betweens.   Push, Pull or Get Out of the Way!

Who Made You?

Wednesday, April 21st, 2010

Bird was not her given name, but everybody called her Bird because they said she was just like that, light and long of neck and attention-getting beautiful.  From the time she could walk, it always seemed as if at any second she was going to lift up to her tiptoes and start flying, that’s how excited she was about life.

When Bird was 12 years old, she and her older brother, Cam, were playing with a group of children in a park at the foot of the remote mountain in Colorado where they lived.  A gang of men appeared out of nowhere and abducted Bird at gunpoint.  Cam escaped and made it back up the mountain.  Bird’s abduction was all over the news, but she could not be found, and after awhile, everyone assumed she never would be.

For three years, the gang held her hostage.  She was made to do menial labor and was raped repeatedly by men twice and three times her age.  The gang eventually sold her to a Canadian man who was in the fur business, and wanted her for his mistress while he was on business trips.  At the age of 16, she was pregnant with the Canadian’s child.

She named the baby Jay-Bee.

When Jay-Bee was six months old, Bird accompanied the Canadian to a business conference in Iowa, where he crossed paths with Bill and Lewis, managers of a real estate syndicate acquiring and developing raw land west of the Mississippi.  The Canadian could sense that Bill and Lewis were major players, connected at the highest levels of government and the intelligence community.  He also sensed that they were enamored of Bird, who it turns out had a gift for languages and knew a surprising lot about raw land west of the Rockies.  The more Bird contributed to the conversation, the better Bill and Lewis liked the Canadian.  So he let her talk.  And sure enough, they invited the Canadian to join their company.

The Canadian turned out to be a miserable employee, capricious, and ill-suited to the relentless pace of the real estate business.  On top of it, he was a raging alcoholic.  Worst of all, he abused Bird and the baby.  When Bill caught a glimpse of this behavior one day in the company parking lot,  he fired the Canadian on the spot.  Lewis, a lawyer, arranged for Bird to get a divorce.  After the divorce, she got her real estate license, whereupon, to her surprise, Bill and Lewis invited her to join the company.

She brought Jay-Bee to work with her every day, and he soon became the company pet.  Bill, who at that time had no children of his own, took a particular shine to the boy, and nicknamed him ‘Pompous.”  She never told anyone about her life before the Canadian.  She couldn’t.  She had no memory of it.  Somewhere, during the time she’d been held hostage by her abductors, she had perfected her ability to forget.

A number of years later, Bill and Lewis asked Bird to join them on a business trip.  They didn’t tell her where they were going.  They took the Gulfstream, landed on a private field at night, got into a waiting limo and checked into their hotel.  In the morning, when Bird looked out the window of her hotel, her heart fluttered like it had wings.  There, in front of her, like a childhood dream remembered, was the mountain where she had grown up.

Still numb, Bird went with Bill and Lewis to a meeting of local officials, and at the meeting, representing his town council, was her brother, Cam.

It took them a second to recognize each other, but the instant they did, she flew across the room to him and they  hugged and cried.  The meeting wasn’t much of a meeting after that.  It was, instead, a celebration that didn’t end for two days, a big dance around a brother and sister and members of their clan who couldn’t stop crying and smiling at the same time.  Bird’s memories of her happy childhood came back to her during those two days.  She remembered that when she was a child, her very favorite thing was to look at a flower, a bird, anything beautiful, and ask of it, “Who made you?”, and that this is what she had been doing when she wandered off from the other children on the day she got abducted from the park.

Bill and Lewis made a killing on their real estate deals, of course, and Bird played an important role in their success.  Lewis went on to become governor of Louisiana and Bill and his wife, Julia, moved to Washington, where he held a number of high-ranking positions in government.  My suspicion is that Bird and Bill were in love.  We will never know for sure.  What we know is this:

We know that Bird gave away whatever money she’d made to charities that supported the poor rural community on the mountain where she had grown up.

We know that on the ten-year anniversary of its founding, Bill invited everyone who’d ever worked for their real estate company  to join him in Washington, D.C. for a big party.

We know that Lewis, driving alone from Louisiana to D.C. for the anniversary party, stopped at a motel in Tennessee, put a gun to his head and killed himself.

We know that Bird, who was living in Iowa at the time, brought Jay-Bee, who was twelve years old, with her to D.C. for the anniversary party.

We know that during this bittersweet trip, Bird visited Bill and Julia at their large home on the Potomac and ask them to let Jay-Bee live with them and their son, Lewis (named after Bill’s partner) and take care of his education.  We know that Bill and his wife raised Jay-Bee as their own son, and that Jay-Bee himself became a prominent player in Washington, advocating for his mother’s causes.

We do not know for sure what happened to Bird.  Some stories say she died of a broken heart soon after returning from D.C..  Some say she died an old alcoholic, alone, broke, and on the streets.  Some say she lived to an old age, doing social work for her community until the end of her days.

We know that today she is commemorated on a gold American one-dollar coin and that her given name was Sacagawea.

And we know that whoever made the flowers and the birds and anything in beautiful in nature, made her, too.

Random Pattern - 82

Blind Vision

Monday, March 8th, 2010

When I was a student at Notre Dame, Marc Maurer (pronounced MAU-er) walked the campus faster than anyone else I knew, and I don’t just mean faster than any other blind person.  I mean faster than anyone, period.  Like twice as fast as the next fastest person.  His cane, which he used to sweep the sidewalk in front of him like a hockey player on a breakaway, was as much for our benefit as his, because he was a man on a mission, he was coming through, and it was clear even back then that nothing or no one was going to stand in his way.

Marc was, to my knowledge, the best auto mechanic on campus.  He’d wheel his Low Boy under a car chassis, listen to an engine, or spider around under the hood and demonstrate that while you might have had the supposedly functional eyes, you couldn’t look at a car with the skill that he could.

He was one of the best students at Notre Dame.  And a party animal.  And a ladies man.  He had a great sense of humor.  In Sorin Hall, where Marc and I lived, nobody thought of him as handicapped.  Quite the contrary.  He was gifted.  By comparison, most of us were lazy, ignorant slugs.

I have not stayed in touch with Marc over the years, but I have kept tabs on him.

A few years ago, for example, Disney planned to release a feature film based on the sight-impaired Mr. Magoo cartoon character.  At first I heard the rumors coming out of Disney’s film marketing department.  “Someone in Washington representing blind people is causing trouble.”  And then I heard the name Marc Maurer, and I had to smile, because I knew it was game over, a mismatch from the get-go.  Dr. Maurer, who today is President of the National Federation of the Blind, chewed up the Mouse and spit it out.  Making fun at the expense of the sight-impaired is a mistake Disney will never make again.

Later this week, I will be conducting a GameChangers workshop for Executive MBA students at Notre Dame, and I intend to mention Dr. Maurer.  In researching him, I came across one of the best speeches I’ve ever heard.  In keeping with the character of the Marc Mauer I knew at Notre Dame, the speech is by turns intelligent, inspiring, and hilarious.  Take the time to listen to it.MarkMaurer1

Some of the beautiful ideas Dr. Maurer expresses in this speech:

If we let a single characteristic become the identifier of a person, it ensures that our estimate of them will be wrong.  Value is measured not by a single characteristic, but by the aggregate of those possessed by each individual.  Each characteristic contributes to the whole, and each may strengthen or hinder the person possessing it.

We live in a society in which blindness is thought to be a condition to be repaired.  Eyes that cannot see are broken.  However, it is false to say that the person who owns them is broken.

We, the blind, do not need to be fixed.  We are fine the way we are.  We can find our meaning and our purpose without modification or alteration.

I do not believe that blindness and helplessness are synonymous.  I carry the cane because it is a tool that helps me travel.  It is a tool of my independence, not a badge of my helplessness.

Learning should not be limited to what trains the mind, it should also train the spirit.

Your life belongs to you!

Note that it’s Federation OF the Blind.  Not FOR the Blind.  It’s not about what we can do for blind people.  It’s about what blind people can do for themselves, and if we’re lucky, for us.  Yeah, Dr. Marc Maurer is blind.  And his vision is just fine.

Work Your Way to the Bottom

Monday, February 15th, 2010

Thanks to our friend, Nilofer Merchant, founder of Rubicon Consulting in San Francisco and author of the insightful new book, The New How, for fanning this New York Times interview with Vineet Nayar, CEO of HCL Technologies.  HCL is a 54,000-person IT services company based outside Delhi with 2009 revenues of $2.3 billion.

Vineet Nayar Leads With Modesty

Vineet Nayar Leads With Modesty

Nayar’s ‘employees first, customer second’ philosophy aligns with a basic concept of improvisation:  Take care of yourself first.  Mick Napier hits this hard in his book, Improvise:  Scene from the Inside Out.  If you wait for the other people in your scenes to have an idea, to initiate, you’re making yourself powerless, and you leave your scene partners and the audience hanging.  And if the other person in your scene waits on you, you’re lost, and so is the audience.  Nayar’s point is the same:  HCL can only be as good to their customer/audience as its employees are to one another.  These behaviors cannot be separated.  You cannot be one way to your scene partners and another to the audience.  It is all part of the same space-time continuum.  And productive action can only begin with you.

Other quotes by Nayar that are consistent with improvisation, and my notes in italics:

“I did not know where I had to go, and I was projecting as if I knew. I assume that you expect me to know where I am going, and you will respect me for that, and the day I tell you both of us are in the same boat, we would fail. That was a very big learning for me.”  Pretending is not illusion  if it is a step on the path to being.

“If you see your job not as chief strategy officer and the guy who has all the ideas, but rather the guy who is obsessed with enabling employees to create value, I think you will succeed.”  Support, the giving of gifts, is the most powerful tool in the improviser’s repertoire.

“How do I communicate to employees to not look up to me, but to look within, to communicate that I’m one of you, to destroy that hierarchy? So I decided I’m going to go into this big gathering of employees dancing to a very famous Bollywood song. And I can’t dance for nuts, right? I was dancing in the aisles with these employees and making lots of noises. What happened? It completely destroyed the gap.”  When you want to communicate something important, use more than information to do it.

“The failures are far in excess of successes.”  Failure is not defeat if it is a step on the path to understanding.

“I don’t want people who are coming here and teaching me something or teaching the organization something. I don’t want teachers. I want people who are not only charged up because they like it, but because they will learn from this experience. I’m looking for people who see experience as a continuum and not as an end in and of itself.”  Improvisers are not teachers.  We are builders of  environments in which communication, learning and transformation can happen.

IMPORTANT FOOTNOTE!

When we tried linking to the HCL URL with Mozilla Firefox 5.0, we got this message:

HCLFail1

We noted this ‘FAIL’ in the post.  Within minutes of publishing the post, an HCL employee, Aruj Kapoor, wrote to say he was sorry they’d been down, that they’d fixed the bug and the site was restored.  And not only that, he ‘yes-anded’ by asking what specific information we were seeking when the site went down.  Aruj’s awareness of what my experience must’ve been when I hit the dead link–frustration, confusion, puzzlement–led him to offer his support to the scene I’d initiated with HCL. Be sensitive to your environment and it will tell you what you need to know. By yes-anding, Aruj converted a mistake into an opportunity to extend the dialogue between the HCL brand and me.  Nice move.  Every mistake is an opportunity to do something useful.