Archive for the ‘Emotion’ Category

We Will Be Brilliant

Wednesday, January 13th, 2010

Haiti2There is a terrible rip in the fabric of the planet. The Earth has buckled under Haiti. Hundreds of thousands of people are dead, suffering, homeless, hungry, helpless in the streets. The alarm ripples across networks in waves of emotion produced by a billion links and images knitted together by tens of thousands of stories. The global disaster relief game is on. We will play it brilliantly.

We will give money via mobile phones. We will send medical help and heavy equipment and food and tents and fuel. Some of us will catch a plane or a boat there ourselves. We will take time off from helping in New Orleans to give Haiti a hand. We will triage this awful wound that anyone who is truly attuned cannot help but feel. It is nature of networks that when people anywhere are hurting, we hurt, too. And so in helping the people of Port-au-Prince, we are also helping ourselves.

Disasters bring out the best in us. Neighborliness. Empathy. Selflessness. Soul. We will be focused and energetic. We will be purposeful. We will honor our instincts. Our differences will vanish, our collaborative natures take over, our shared destiny will be made, for a time, more clear.

And after the rubble no longer echoes with the cries of those it has buried alive, after those who have been hurt have been treated and those who are hungry have been fed and those on the streets have been sheltered…after the aid and energy we’ve sent toward the stricken parts have exhausted themselves and the survivors have settled into a freshly impoverished routine…we must remember this:

Our brilliance is always with us, and does not require a disaster like this one to make its presence known.

Be Nice to the Mice

Monday, January 4th, 2010

The end of the year, the decade, passed fitfully, at times stressfully, with no pause for reflection, and no Resolution for the New Year except the fairly vague intention of being more Resolute. What to be resolute about? That was still the question.

And then this article by Errol Morris in the New York Times came across the network this morning, the hook being a quote from Walt Disney (”I only hope that we don’t lose sight of one thing — that It Was All Started By A Mouse.“) as its headline. I’d already seen the link a couple of times when Howard Green from Disney Studios called to invite me to a tribute for Walt’s recently-departed nephew, Roy Disney, on Sunday at the El Capitan Theatre in Hollywood.   Suddenly the universe was in my ear bigtime, whispering that I had to click on the link to the Morris article. Something was there to be discovered….

The article itself is a photo essay and dialogue with photojournalist Ben Curtis about the forensics of war photography, the context of image vs. imagemaker, the technological challenges and dangers that come with altering photos to create propaganda or enhance a certain point of view. The kind of stuff in which Morris specializes. After I got the context, I began skimming. But I kept coming back to a photo by Curtis that led off the article:MMWarPhoto1

In seeing the photo, I found what had been missing over the holidays. I might have decided to be resolute, I was still waffling on a theme, what, exactly I’d be resolute about. This photo resolved that. I wrote the following Comment on the Morris piece:

Errol

As our old friend Onosko, who worked at the House of Mouse for many years, might have said, you’re making it more complicated than it is. Focusing on the cosmetic level of communication–the toy itself, the shards of glass, the smoke, the interaction between imagemaker and image–is a fascinating narrative, and yields neverending complexity, but this complexity obscures meaning instead of bringing it to light. How Mickey got there is not nearly as important as the meta and emotional levels of the communication: War’s awfulest tragedies are its children.

Until we begin thinking of children first–begin with the Mice!, that what Walt would’ve done–War will be an adult theme park where children get crippled, grow old and perish before their time.

And so, finally, thanks to Howard and Errol and Ben, I have it — my New Year’s theme — the thing I can be Resolute about:  Be Nice to the Mice.

Hit it, Kid!

BabyDrummer1

Pat on the Back

Tuesday, December 29th, 2009

A VERSION OF THIS FIRST APPEARED ON THE HUFFINGTON POST WEB SITE…

I am at our local hardware store on Vermont Avenue in L.A. where I’ve recently been spending a lot of time and money on our fixer-upper, when I see one of the store’s employees give another one a pat on the back.  It makes me smile because it’s something I don’t see too often in the workplace these days: generous, a gesture of appreciation — for what, exactly, I cannot tell.   A favor returned?  Encouragement?  A conflict resolved?   Good news?   A joke?  All I can tell for sure is that it’s a connection between two people who, in that instant, are enjoying their scene.

We earn our money by learning from the Past and by being correct more often than not about the Future.  But we do our living in the Now, and nothing says Now like a pat on the back.

And yet, there’s a problem with this, at least where the workplace is concerned.   Touching is a vital element of communication, but between the computer culture and the corporate playbook, it is being systematically eliminated from the game.

To get the complete picture, I phone Martin Ett, an HR consultant with ObsessiCom Outsourcing Services, and ask him to interpret a pat on the back like the one I witnessed in the hardware store.

“It depends,”  says Ett.

“On?”

“A lot.  Was it a display of affection?  If so, was it sexual in nature?  What was the duration of the gesture?  We recommend a three-second limit on casual contact, including handshakes, conversational touching, hair or clothing adjustments, and lint-plucking.  Back-patting falls under the three-second rule.

PatontheBack1A“There’s also the nature of the contact itself to consider,” Ett went on.  “Was there rubbing involved or was the contact static?   Was it hand contact only, or was it of a hugging nature so that bodies were touching?  This is an important distinction, because hugs are becoming increasingly problematic in the workplace.  Many employers prohibit what we call ‘full frontal clutching’ while still allowing what we call ‘casual side-to-side linkage.’   We’re seeing strong anti-clutching trends across the corporate landscape.

“I’d want to talk to each of the employees separately,” Ett continues, “to determine both intention and interpretation, an ‘I-to-I Analysis,’ we call it.”

“Eye-to-Eye? I ask.  Misinterpreting.  “Is that like a 360?”

“You mean a 720?  Uh, no.  It means was there alignment between the patter’s Intention and the pattee’s Interpretation of the incident?

(Incident?)

I get where this is going but there’s no stopping him now.  I put the phone on speaker and tend to my Farmville on Facebook as Ett continues: “Did the pat make the pattee defensive or uncomfortable, or imply some kind of future obligation?  Also, what was the proximity of the parties? Was one of the parties backed into a corner, or was there space for the pattee to avoid the pat if it was unwelcome or unwarranted?”

“It happened in the hose aisle,” I say.  “It’s cramped in that store.  Space is tight.”

Hose aisle,” repeats Ett, gravely.  “That could be an issue.  Context is key.  I’d need to know more about what exactly goes on in the hose aisle.  Is one of the parties the hose manager, or is that aisle considered neutral space?  Was there actual hose involved?  Because that’s a whole new kettle of worms…

Kettle of worms? When did a pat on the back turn into a scene from a Wes Craven movie?

PatonBack2A“Also what, specifically, was ‘the back’ being patted? I’d want to know that.  Was it in the region of the upper, or Cervical, vertebrae?  If it was on the upper back it was probably okay, assuming of course, it didn’t last for longer than three seconds and no rubbing was involved.  Middle, or Thoracic vertebrae, are a gray area, especially numbers T-One through T-Four.  You find HR people very divided about this, and there are no clear guidelines, so my advice is to steer clear of the Thoracic region entirely, just to be safe.  The lower, or Lumbar region, is a definite no-no.  And a pat on the Sacrum will get you a visit from Security, no question.

“Was one of the employees the other one’s superior?” continues Ett.  “If so, the gesture could be taken as intimidation or harassment.  Was the patting public or did it happen in private?  Was this an isolated incident, or was it part of a pattern?”

“I don’t know,” I say, feeling a bit harassed myself now, for even bringing it up.  “They just seemed like a couple of guys enjoying a moment.”

“Couple of guys, eh?  We’re seeing a big increase in same-sex sexual harassment these days.”  Ett says it with the ominous satisfaction of an exterminator describing a cockroach invasion in the building where you live.

“What about giving myself a pat on the back?” I ask.  “Do you have a rule against that?”

“Are you making fun of me?” Ett replies.  “If you are, you’re barking down the wrong well, buddy.  There are rules about that.”

Next time I see them, I’ll warn the guys over at the hardware store they’re skating on some very thin skin.

The problem with rules of the game like those cited by (the fictional) Martin Ett is that they define workplace interactions in the context of the Past or the Future while minimizing the impact of the Now.   Because of this they tend to suppress rather than expand our ability to communicate in a productive, meaningful way.

In this kind of sanitized environment, we may be making our money and limiting our liability, but it has very little to do with how we’re living our lives.PatonBack3B

The Worst Billboard in L.A.

Tuesday, December 1st, 2009

I entered the arena this week all snarky and snarling, as if awakening from a tryptophan coma. It didn’t help Monday morning when what was supposed to be an 11-minute hold to speak with Bank of America’s service people about a problem we were having with our online banking turned into 45 minutes.  One must find a healthy outlet for one’s darker moods, a way to vent.  Yoga can lift the clouds. So can playing the guitar, a strenuous workout, or a good long laugh.   Writing and the arts are good tonic, too, creativity being a prime refuge for malcontents from the beginning of time.  The caveperson who did the drawings on the walls of the caves at Lascaux was probably a lousy hunter, got ridiculed for it, and found that drawing on the walls with a burnt stick was good therapy.

In the interest of venting creatively, let’s talk about why this billboard on south La Brea Avenue is the worst billboard in Los Angeles.IMG_6111

Naturally there are a lot of unsold screenplays around town, just like there are a lot of unsold cars in Detroit, billions of  lines of unused code in Silicon Valley, and a legion of uncaught lobsters off the coast of Maine.   It’s a company town, and this is what happens in company towns.  Inventory gets stockpiled, and when the economy is troughing like it is now, it seems as if nothing moves off the shelves and more moves on all the time.  Besides, everyone who’s ever written for films or television can show you a trunkful of unsold scripts, manuscripts, treatments and pitches.  The bookshelves of every agent and D-person in the system are buckling under the weight of screenplays, spec pilot scripts and the galleys of unpublished novels to be pitched as film projects.  The titles of these projects are all written on the spines.  Occasionally you might see the name of a film that actually got made (”Memento”) a few that might have gotten made (”Naked Kill 3″???) and many, many more that you suspect will never get made (”Cletus the Fetus”).   So yes, cosmetically, the billboard states a kind of truth.  Most screenplays remain unsold.

Emotionally and metaphorically, however, this billboard is a terrible affront to  the industry, and to anyone who ever put their time and effort into writing a screenplay.  Here’s why:

Chase, the bank with all the ATMs, has never written a screenplay.    Chase has never stayed up late at night after the kids have gone to sleep, or gotten up extra early in the morning before work to  labor over a story in the longshot hope that the story will be the ticket out of a podunk town or a flatlining job.  Chase has never been so inspired by the lives of others or moved by the tide of human events that the urge to turn the experience into a screenplay, a movie, a grand statement about the way you feel about the world, is every bit as biological and undeniable as a seed’s drive to seek the sun.  Chase has never sat around with its college buddies, Citi, B of A, and Wells Fargo, and co-written the next big teen comedy, only to discover that nobody’s making teen comedies any more, the market has shifted practically overnight to RomComs.

Every one of those unsold screenplays was written by a human being with a dream, an idea, an inspiration.  Chase isn’t human.  Steinbeck put it this way in The Grapes of Wrath:  “The bank is something more than men, I tell you. It’s the monster. Men made it, but they can’t control it.”  This is what makes the billboard on La Brea such a monstrous offense to the industry it claims to court.  All those unsold screenplays are the hard-won badges of our humanity.  They are the flags that keep flying despite the hardships of battle.  They are the symbols of our striving, of our willingness to believe in our dreams, and confront the obstacles that stand between us and their realization.

As Christopher Walken might say, “If an actual person spoke to me like that billboard does, I’d stab them in the face with a soldering iron.”

Applied Improvisation, Part Five: Touching the Heart

Tuesday, November 24th, 2009

Nick Owen is one of those people you feel as if you know even though you know you’ve never met him before.  I think it’s because he’s in touch with his environment, and this allows him to make immediate connections with people who share that environment.  The honesty with which he speaks and his desire to do some good in the world are palpable.  Visible.

His keynote presentation, “Touching the Heart,” is seemingly so in tune with its environment that whenever a phone rings or a plane flies overhead, it is with perfect timing.  With the addition of these ‘rimshots’ ordinary statements become punch lines, a lesson for sure in how humor works.  Timing is………………everything.  Nick:  “Understand what causes the arrow to find its mark.”  (Pause)  Phone RINGS.   Audience LAUGHS.

Nick draws on philosophy, world culture, storytelling and improvisation to describe the expressions of the heart that connect us.

Nick Owens

Nick Owen

He tells a story about a girl riding a camel through a desert who resolves a dispute amongst three brothers fighting over their inheritance–which consists of camels.  He tells another story about a legendary Chinese archer and an old monk. I am a sucker for archery stories.  Shoot an arrow into the air, and I will definitely stick around to see where it lands. The ‘ka-’ always demands a ‘-thunk!’

As part of his address, Nick conducts a couple of exercises.  One of them builds a five-line story about who we are.  What may, to a non-improviser seem narcissistic or self-interested, we regard as essential to the scene.  First be certain of what brought you here, and what you’re here for, and where you’re headed.  Take care of yourself first, and you are free to take care of your scene partners.

In small groups, we read these stories to one another, these five-line reminders of how we define ourselves in the world. The stories are poetic and moving.  We dry a tear off Caitlin McClure’s cheek. The tear speaks for all of us.

Sing Everything

Thursday, July 9th, 2009

DaveCarroll1This story broke in the L.A. Times a couple of days ago and has been burning up the interwebs ever since.  Dave Carroll of the Canadian country music band Sons of Maxwell sings about a problem he has with United Airlines.  It’s easy to see how productive this game is for Carroll and the Sons of Maxwell, and how damaging it is to United Airlines, a brand that already has a pretty shabby reputation for dealing with passengers.  It is after all, the best customer complaint of the Networked Era.

There are three elements of gamechanging at work in Carroll’s United Breaks Guitars song (with two other ‘complaint songs’ to follow, according to Carroll): (more…)

GameChanger of the Month – May 2009

Monday, June 1st, 2009

Cutie1Father Alberto Cutie of Miami has been in the news a lot lately.  First, a Spanish language tabloid caught the handsome celebrity priest canoodling with a woman on the beach.  Last week he made the mainstream news again when he announced in a press conference that he was changing his affiliation from the Catholic Church, with its rules on celibacy, to the Episcopal Church, where priests are allowed to marry.

Forget for a second that this scene has anything to do with religion.  It’s not really what the scene is about, anyway.  The scene is about is faith and  faithlessness.  It is about reputation and disrepute.  It is about a tug of war between one’s own personal brand and values, and the brand and values of an organization.

In other words, it is a scene that is completely familiar to anyone who’s ever had to make a career decision that involves profound personal choices.  Which means it’s about all of us. (more…)

GameChanger of the Month – April 2009

Wednesday, May 6th, 2009

Lifton1Jimmy Lifton, a musician/entrepreneur/producer/writer/director who, with his wife, Paulette Victor Lifton, founded Oracle Post, a well-regarded post-production company in Los Angeles, has been named April 2009’s GameChanger of the Month because of a move he made public on April 14, with the announcement that he’s going to build Unity Studios a new 104-acre film and TV production facility in Michigan.

Lifton deserves accolades for this move because it expresses the ‘Three E’s’ of Gamechanging–Emotion, Environment and Education–and also because until we put a lens on the Unity Studios scene, there was no such thing as a ‘Three E’s of GameChanging.’ So thank you, Jimmy, for that.

Here, minty fresh, are the Three E’s, as expressed by Jimmy Lifton: (more…)

Follow the Fear

Sunday, May 3rd, 2009

(This piece first appeared on the Huffington Post on March 10, 2009)

HighDive1

Think about all the things that scared us when we were young.   And how we ‘grew out of our fears.’

Stage fright becomes grace under pressure. Shivering at the edge of the high dive becomes a love of soaring. Fear of ignorance becomes scholarship. Fear for the well-being of others leads to a lifetime of healing.

Fear of being the new kid in school becomes the ability to make friends and find common ground in new situations.

When we are children, we have no choice.  We walk through our fears because we are placed in environments where there’s no turning back.  And then we grow out of it. (more…)

SXSW #8 – ENERGY

Sunday, March 22nd, 2009

To me, the most impressive thing about SXSW Interactive is the energy that radiates.  Generally, the people attending this conference are focused, smart, creative and optimistic.   They pose important questions and play the kinds of productive games that result in communication, learning and transformation.  They dream, then do, and they are unfazed by failure.  I have been part of this conversation, this tribe, since TRON.  While I don’t know too many people here, or travel dozens deep like some of the bigger players, I feel very welcomed, and grateful for all the support GameChangers received during my four days in Austin, from too many people to mention.   I hope all our paths cross again someday, and given the affordances of the Networked World, it is quite likely that they will.

GCSXSWVideo1