Archive for the ‘Entrepreneurship’ Category

Quili

Tuesday, February 1st, 2011

I was thrilled last Wednesday to have lunch with Phillip Spolin, nephew of Viola Spolin, the godmother of modern improvisation.  Phillip had some kind of two-pronged plastic thing in the breast pocket of his jacket, and throughout our meal, I’d steal glances at it, wondering what it was.  A pair of glasses?  A couple of pens?  I was so caught up during our lunch in his stories about Viola that I never got to ask him.PhillipSpolin_Quili1

After lunch, I left the restaurant a minute behind him, and he was in the parking lot waiting for me, with the thing that was in his pocket in his hand.  It was a plastic figurine in a dancer’s pose.  (The two ‘prongs’ were its legs.)  He explained it to me that it was called a Quili, and that an artist friend of his, John Perry, had invented it.

On Friday, we were going to be doing a GameChangers event, and I’d been looking for some kind of prize to give away to participants.  Quilis would be perfect.  Our theme was ‘Connect the Dots,’ and that’s exactly what Quilis are designed to do–connect with one another in unique configurations with the super-strong rare earth magnets in their hands, feet and heads. Perfect alignment with our theme.

Spolin put me in touch with Perry, who lives in Agoura on a small ranch at the end of a winding gravel road.  He provided us with 20 Quilis, including several that aren’t yet on the market, for Friday’s event.  Perry had been designing refrigerator magnets five years ago when he came up with the idea for Quilis, and began making prototypes.  He had to design around an old patent on a small wooden cowboy figurine from the 1960s that had magnets in its hands and feet.  The patentable difference is that Quilis can stand alone without magnetism.  “Quilis don’t balance,” explained Perry.  “They stand.”

The current line of Quilis is available at museum and gallery gift shops.  The new line will be featured in the gift shop of the Kodak Theater when Cirque du Soleil begins a long-term engagement there this July.

In certain ways, improvisers are like Quilis.  They can connect with one another, with their environment and the objects in it.  (Rich Talarico calls it ‘Velcro-ing”)  They use their spines to help define character.  They don’t balance.  They stand.Quili_PerryCaption1

Farminess Guide

Tuesday, January 25th, 2011

Farminess1Nothing ever goes away.   The essential nature of a thing does not disappear.  It changes.  Evolves.  That’s how nature rolls.  It is through change that a thing makes itself timeless.  It is through change that it makes itself known.  It may take a different shape, or be reflected through a new reality, but whatever it was that made a thing what it was in the first place will still exist in the world.  For example, Communism may have fallen in the Soviet Union, but it is alive and thriving in every petty bureaucrat, baked into every Bridge to Nowhere, and encoded in every lie told by a government to its people.  Magic Johnson may no longer play basketball, but the exuberance with which he played the game is, today, alive in some gangly kid from a small town in Hunan Province, who’s sharing her own brand of hoops magic with her teammates and fans.  We may lose a loved one, but we do not lose their love.

If only because it invokes a sense of nostalgia in me personally, I’m happpy to report that the small family farm is thriving.  As a rural lifestyle it barely exists, of course.  Most of the economic vitality over the next century will be in urban areas.  The essence of the family farm–call it ‘farminess’–has morphed into something new.  In fact, in my observation, the essence of the family farm is maybe more present in the world today than ever.  Very few of those reading this will have grown up on a family farm, so there is no way for you to recognize this essence.  Not having experienced the change from what it was to what it is, it will be almost impossible for you to see.  I’m writing this post as a kind of guide, to help you see and appreciate the farminess that’s present today in the networked world.

Nobody said it is an easy life.  Your fortunes hang on every harvest, and when the harvest isn’t good, you may have to take a job off the farm for a season or two.  One bad hailstorm can wipe out a year’s crop; one virus can decimate your herd.  It is, however, a good way to experience life.  Your property is  intellectual not earthen, but it is just as tillable, and contains more growth-friendly enzymes and more potential for generating wealth than the sweetest acre of Nebraska farmland ever did.  You get to be around your family a lot, and they get to see and experience what you do for a living.  Everybody pitches in.  The sense of community is strong.  The work ethic is strong.  The food is healthy and delicious.

Here’s a Farminess Guide, seen through the change from what it used to look like, to what it looks like today…

40 Acres and a Mule—>A Server Farm and a Team of Siberian Engineers

Milk Cow —> Computer. (”Give, Asus, give!”)

Quilting Bee —-> Scrum

Hayride —-> Rave

Dead Animal Truck —> Wayback Machine

Manure Spreader —-> Drudge Report

Eating —-> Exercising

Local Bank —-> Kickstarter

Pitchfork Through the Foot —–> Piercing

Seed Planter —-> Twitter

Church Social —-> Facebook

Trips to Town Once a Week —-> Trips to Wherever, Whenever

Trespasser —-> Hacker

Successful Farmer Magazine —-> Lifehacker

Spring Flooding —–> WikiLeaks

4-H Club —-> Club Penguin

The Weather —-> The Cloud

Old Grey Mare Who Ain’t What She Used to Be—> Silver ‘72 Dodge Charger Awaiting Conversion to Biodiesel

Skunk —-> Spammer

Pine Tar Stain —-> Tattoo

Outhouse —–> Biodigester

Pond —– > Hot Tub

Barn Raising —-> Agile Development

Growing Season —-> Year to Quarter

Butchering Day —> IPO

Cropland —-> Network

Whiskey Still —-> Marijuana Plant

Barn —-> Studio

Smokehouse —-> Food Dehydrator

Gas Tank —- > Solar Charging Station

Grainery —-> Database

Windmill —- > Wind Turbine

“We will kill the old red rooster when she comes.” —-> “She’ll be bringing Chinese takeout when she comes.”

Any fellow farm kids have anything to add to this?

Stay farmy, my friends, and I’ll see you around the bonfire I mean at Burning Man.

improvgroupon

Monday, December 13th, 2010

GrouponLogo1This from the business section of the Dec. 6 2010 LA Times website (it was in the print newspaper on Dec. 7) about how Groupon, the geo-couponing company, turned down a buyout from Google estimated to be worth $5-6 billion.

Groupon CEO Andrew Mason is known for his quirky sense of humor, which is evident in the company’s e-mailed daily deal notifications and its office decor.  Many member of the sales and writing staff have backgrounds in improvisational comedy.

Groupon which is expecting 2010 sales of $2 billion, is described by one investor in the article as “…one of the fastest-growing venture-backed companies ever in terms of revenue ramp.  They have plenty of options.”

Of course they do.  They’re improvisers.  The group mind makes the decisions at Groupon.  What more do you need to know?

Pivot To Prosper

Monday, December 6th, 2010
Photo by Tammy Cadence Tso

Photo by Tammy Cadence Tso

The current issue of The Economist features a short piece in its Business & Finance section entitled, “The Pivotal Moment:  Bet on a boss who can twirl on his toes.”

In it, venture capitalist Alan Patricof of Greycroft Partners is quoted indirectly as saying he is looking to invest in “young firms whose bosses know how to pivot: ie, dump their old business model and adopt a new one. Difficult times demand flexibility.”

There is a science to pivoting, a science that generates predictably positive outcomes from unforeseen circumstances. That science, despite the article’s continuing use of the metaphor, is not Dance.   It is Improvisation, which has as compelling a body of work supporting it as any business ethos that’s relevant to the networked era of business.

This ethos is both pedagogically sound and creatively liberating.  Works by visionaries like Viola Spolin and Keith Johnstone, and many yes-anders like myself, have, together, laid a solid foundation for ‘applied improvisation.’   With approx 1,600 members worldwide, the Applied Improvisation Network is a loose affiliation of improvisers, many of whom understand how to apply improvisation techniques to business.  Improvisation, in addition to being a key attribute of a successful start-up, plays a huge role in social social media strategies like ‘fanthropology,’ as well as in agile development processes, biomimicry, transmedia, and branded entertainment.

The ability to improvise IS the ability to pivot when the time is right in order to consistently grow through change. In this science of ours, preparation is emphasized over planning, thematic consistency over replication, flow over stock, and trajectory over position. Improvisation is, we believe, a vital skill for organizations and individuals doing business in a networked world—and who isn’t?

Chance Favors the Connected Mind

Thursday, September 30th, 2010

The author Steven Berlin Johnson, recently gave a TED talk on the subject of his next book, which will be his seventh: Where do good ideas come from?

He’s an observant man, so the observations come tumbling out of him in a 17-minute torrent, from why coffee shops were important to the Enlightenment, to the debunking of ‘Eureka’ moments.  If you want the full effect, step into the Johnson waterfall and view the video.

If you’re looking for a summing up, well, there’s a one-word answer to the question, ‘Where do good ideas come from?’ The answer is ‘Improvisation.’  Good ideas come from improvisation.  Check this out:

Johnson says, “Don’t protect ideas, share them.” This is precisely the concept behind of yes-anding.  Instead of scripting, blocking, denying, judging or yes-butting–all anathema to innovation–add to the ideas of others.  Walt Disney used to call this “plussing,” a phrase that has been adopted by Pixar Animation Studios.  In doing so, Pixar yes-anded Disney.  That’s how it works.  Ideas evolve.  And when you yes-and by sharing, they evolve faster and more purposefully than if you don’t.

Johnson says, “Ideas are a network.” This equates to the Group Mind of improvisation, where ideas belong not to any one individual, but to the group, and the scene.  Ideas are not isolated phenemona.  They always exist in relationship to other ideas, and other people.  An apple falling on Newton’s head was not his idea.  It was a connection between a number of ideas that described the physical world at that time.  Johnson says, “Chance favors the connected mind.”  He might just as well have said, “Chance favors improvisers.”  It was because he was able to connect it to other phenomena that the chance occurrence of an apple falling on his head became meaningful to Newton.  This is no different than what a good improviser does in a scene.  He or she turns chance into meaning by making connections.  That’s the work.  It’s not easy.  It is a practice that takes study, discipline and time.

Johnson says, “Ideas are a slow hunch.” This equates to the patience some of the best improvisation groups have for finding the game in a scene. My favorite example of this from improv theater is the L.A.-based group, Dasariski.  Those guys take their time about finding the game, this discovery arises organically–though quite predictably–from conversations, and it is a beautiful thing to see.  Good ideas are the equivalent of productive games in improvisation.  They often arise from anomalies or even mistakes.  They’re generative, that is, they led to other ideas.  Even though it makes for better anecdotes, ideas are not like a single frame from a movie, a frozen image—apple hits man on head!—they are montages of images, and jumps back and forth in time.  Ideas are narrative.

Johnson says, “Ideas are a product of environment.” Yes and this, too, is one of the most fundamental ideas of improvisation:  Environment fuels performance.  This is why Belina Raffy conducts improvisation classes in Europe that are based on Biomimicry, where performers mirror biology to help their innovation process.  Today, thanks to our connection with Belina (ideas are a network, remember?) we are beginning to play with biomimicry at GameChangers.   As Viola Spolin said, “Act on environment and enviroinment will act on you.”

Social Media Week – Los Angeles

Thursday, September 16th, 2010

SMW3I’m producing, or helping with, four GameChangers events next week as part of Social Media Week in Los Angeles:

1) A two hour GameChangers workshop, ‘The Revolution Will Be Improvised:  Brand Narratives in the Networked World,’ at KCET television studios.  This will be a quick introduction into the fundamentals of improvisation for business communication, and an exploration of how, to be effective, brands must be prepared to improvise their narratives in the social media space.

2) A workshop billed as ‘Communication Trifecta:  Levels of Meaning in Presentations’ at the Institute for Multimedia Literacy.  This will be for students at USC who are learning to use new media tools and platforms to help them ‘get their show on the road,’ as my dad used to say.  We’re going to focus on how to give good presentations.  (Hint:  It’s not the presentation, it’s the presenter.)

3) A science communication workshop based on biomimicry–using processes found in nature to produce sustainable designs and business strategies–at the Viterbi School of Engineering at USC.  The workshop continues a program begun by the actor Alan Alda and science journalist K.C. Cole to help scientists improve their communication skills.  Cole, who was mentored by (and has written a book about) Frank Oppenheimer, creator of the Exploratorium in San Francisco, will be co-facilitating with me.  Alda will be viewing segments of the workshop via teleconference from Stony Brook U. in New York.

4)  A program on fan culture hosted by the Cimarron Group that will be moderated by the legendary Henry Jenkins of M.I.T. and USC, who’s like a Professor of Fanthropology.  The program will look at the ways that fan culture affects the marketing of motion pictures.

Only the GameChangers workshop at KCET is open to the public. If you’re in Los Angeles  next week, please plan to attend.  The biomimicry workshop will be streamed live online (follow @socialmediaweek on Twitter for the video link.)   You’ll also want to check out the full schedule of events for Social Media Week. There’s something in it for everyone.  And a lot of it will be streamed live.  You can track it via @socialmediaweek on Twitter, and on the Facebook page and lots of other channels, too.  The new networks have thousands of channels, dontcha know.

Ultimately, all human discourse is social media.  The fact that we have new platforms for doing it doesn’t guarantee we’re going to be any good at it.  For organizations and individuals alike, getting good at social media means getting good at human skills like listening, finding agreement, and synthesizing different points of view into a brand new whole.  That takes improvisation.  And that is why GameChangers is so committed to Social Media Week.  Social media platforms are the stages, and every stage needs its play.

Social Media Week in Los Angeles is being produced by Erick Brownstein and The New Agency.   The event began last year as the brainchild of Toby Daniels and his company, Crowdcentric, in New York City.

Quoteworthy

Tuesday, August 10th, 2010

Our friend Christian Wach, one of the founders of Spirit of Football, sent us this quote:

“Paying attention to the last ten years means we need to realize that nonproprietary, distributed production is not the poor relation of traditional proprietary, hierarchically organized production. This is no hippy lovefest. It is the business method on which IBM has staked billions of dollars; the method of cultural production that generates much of the information each of us uses every day. It is just as deserving of respect and the solicitude of policy makers as the more familiar methods pursued by the film studios and proprietary software companies. Losses due to sharing that failed because of artificially erected legal barriers are every bit as real as losses that come about because of illicit copying. Yet our attention goes entirely to the latter.”ChristianWach1A

Created in America

Monday, August 9th, 2010

In noting President Obama’s rallying cry for a program to support small businesses in America, the White House published the following in the President’s Facebook news feed:

A minority in the Senate is standing in the way of giving our small-businesspeople an up-or-down vote on the jobs bill. That’s a shame. We need to decide whether we’re willing to rise above the election-time games and come together—not just to pass a jobs bill that is going to help small businesses hire and grow but al…so to rebuild our economy around three simple words: “Made in America.”

While we wholeheartedly support a jobs bill that will help small businesses like ours, ‘Made in America’ is an Industrial Age idea that has very little resonance in the Networked World.  Nothing substantial can be built around anything as meaningless as that statement.  Here’s why…MickeyMouse&Abro1

The problem is that making stuff is not what America does any more, not exclusively to ‘Brand America’ anyway.  Stuff gets made all over the world.  What’s the most ‘American’ brand you can think of.  Disney?  Coca Cola?  Nike?  ‘Made All Over the World’ is the truth of these brands, and the same is true for any other brand vibrating on a network frequency.  The Budweiser Clydesdales are Belgians now.  Deal with it.  In light of these new truths, ‘Made In America’ becomes just another piece of empty political rhetoric, designed to dampen disagreement rather than to foster any large-scale agreement around a new economic narrative.

What we need is an idea that will generate new narratives, and new ideas about how to stimulate the economy.

One of our favorite American companies, ABRO Industries, based smack dab in the heartland of America, South Bend, Indiana, with 25 employees and projected 2010 sales exceeding  $150M, does over $40M of sales a year in Nigeria alone with products it manufactures in South America.  Most of ABRO’s products are made outside America, and yet most of the wealth it generates comes back to this country.  How?  It originates the business cycle and the brand.  It creates networks to market its products around the world.

“Made in” is no longer an differentiator for American business.  ‘Created in’ still is.

What makes American business unique, what we can count on every time, is Creativity.  The true American brew isn’t Budweiser,  it’s the idiosyncratic brew of cultures and personal histories that make the American narrative unique in the world.

What matters about Disney is not where it’s made.  After all, its primary product, happiness, can be conjured up anywhere in the world.  What’s unique and irreplaceable about the Disney brand is that it was created in America, born out of the imagination of a Scotch-Irish Socialist-Farming Depression-Era Cartoon-Making Hollywood-Bound Space-Racing Commie-Fearing Polo-Playing Chain-Smoking Family-Loving Chili-Eating Anti-Semitic Dandy From Kansas City Who Dreamed He Was a Mouse.

Making stuff means replicating it, and that means commoditizing.  Anybody can do that.  Originating stuff–growing Walt Disneys and Apples and Pixars and Lady Gagas and ABROS–that’s what America still does best.

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!

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!