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Objectives and Outcomes

Monday, October 31st, 2011

Games are structure. They create focus, encourage participation, and stimulate the Group Mind, which gives players the freedom to work at the height of their intelligence toward collaboratively solving a problem. At GameChangers, we define game structure as ‘ERGO’–Environment, Roles, Guidelines and Objective. If you can define these elements in your scene, you’ve called out a game.

A ’scene’ can be a single meeting or a years-long campaign. It can address an immediate crisis or seek lasting change in an organization’s culture. Whatever the reason for your scene, you always have the ability to apply game structure to it.

In addition to defining game structure, we help our clients sort out productive games from the unproductive ones. It should come as no surprise to anyone that there are a lot of unproductive games getting played out there. They can be unproductive for a lot of reasons. Here’s a big one: Games that treat Objectives and Outcomes as the same thing are not good games.

Objectives are structure. Outcomes are performance. These are two very different things. Here’s an example we sometimes use in our workshops to illustrate this point:

What is the Objective of the game of basketball? It’s to put the ball in the hoop. This objective has not changed since Dr. James Naismith nailed a peach basket to the balcony of the gymnasium at Springfield College in 1891. Other elements of the game, the E the R and the G, have evolved dramatically, the O has not. It is remarkable for its unchangedness.

The Objective: same as it ever was

Now…what are the Outcomes of the game of basketball? Let your mind play with that question for awhile, and see what kind of responses pop up. Here are just a few that I myself have experienced: the Ireland (Indiana) Spuds high school basketball team; Hoosiers; my first pair of Chuck Taylor white canvas high tops; numb fingers from playing in 30-degree weather at recess; the fact that I first learned about Crispus Attucks because Oscar Robertson played for Crispus Attucks High School; Marv Albert’s arrest and subsequent rehabilitation; LeBron James leaving Cleveland; Dude Perfect; Magic and Bird; Rick Mount; George McGinnis; Wilt vs Russell; a rubber band that I wore on my wrist for a year; the Chuck Taylor black leather high tops that Corey Feldman wore in my film, The Lipstick Camera; the Chuck Taylor brand; the relationship between Spike Lee and Michael Jordan; Bobby Knight; Extreme HORSE with my friend Tim; hoops with my sons and their friends; coaching at the Y; the 2002 and 2003 Loyola Cubs CIF Championships; my friendship with Jamaal Wilkes; Ernie Barnes’ paintings…you get the idea…while there’s only one Objective, there are many possible Outcomes. And that’s just me. Your Outcomes are different from mine. Outcomes are an ever-expending set of possibilities.

This same dichotomy between Objectives and Outcomes is applicable to any game structure for your business. The Objective is the constant; the Outcomes are the infinite unknowns, where all the possibilities and all the upside reside.

Focus on your Objective, yes, by all means, absolutely! From a process standpoint, it is the most important thing, the target, the point of the exercise, it can even be your motivation. It is not, however, where the action is. Not where growth and extension occur. If the only action you’re open to is achieving your Objective, you’re missing most of the possibilities of the game.

The game is put the ball in the basket. The possibility is Oscar Robertson.

"High Aspirations" by Ernie Barnes

Tags: basketball, Bobby Knight, Creativity, Dude Perfect, Engagement, Environment, ERGO, Focus, Game, Game Structure, George McGinnis, Group Mind, Guidelines, Hoosiers, James Naismith, Objectives, Oscar Robertson, Outcomes, participation, Possibilities, Rick Mount, Roles, Springfield College
Posted in Coaching, Games, Group Mind, Issues, Metaphor, Objectives, Scenes | No Comments »

Chrysanthemum

Saturday, March 12th, 2011

Japan is a chrysanthemum. Many petals. One flower. The meta language of the chrysanthemum is deeply rooted in Japanese history and culture. It is the official mark of the Japanese Emperor’s family. It symbolizes happiness.

A disaster like the quake that literally shifted the planet on Friday in Japan gets us to focus on what is most important. At times like these improvisation—a system for generating positive outcomes from unforeseen circumstances—is especially critical.

JapanQuake1 I have a feeling that in the coming days, we are going to see the power of the flower. As the Japanese people face the challenges confronting them, we will see the creative potential of the group mind, especially when a group as large and connected as the Japanese are are given a sense of purpose like the one they have now.

We will see that improvisation consists not of making it up as you go along, but of making focused and productive moves at every opportunity. Here, for example, via our friend, Michelle James (@creatvemergence), is a list of suggestions from Time Out Tokyo, for how the Japanese people can respond to the crisis.

Already, we can see that there is structure to the process defined by TOT. The objectives, environment, roles and rules of the game are clear. Process is clean. Everything is achievable and scalable. In short, the advice consists of:

Give money–being present in spirit is more important right now than being present in person;
Give blood–to be healthy is an obligation to care for the infirm;
Conserve electricity–the people are in this together.

Though it’s seldom as sudden and concentrated like it was on Friday in Japan, natural destruction is happening at all times, all over the world. Lives end. Rivers flood. Mountains slide.

At the same time, nature’s creativity is expressing itself with equal energy. Lives begin. Rivers heal. Mountains rise.

How can we improve the odds that our creativity will triumph over our destruction?

We can play the Chrysanthemum Game. Find our purpose. Believe in happiness. Bloom as one.

Chrysanthemum1

Tags: Chrysanthemum, Creativity, Disaster, Earthquake in Japan, Focus, Game, Group Mind, Happiness, Japan, Japanese, Sendai Earthquake
Posted in Creativity, Environment, Focus, Games, Group Mind, Objectives, Problem Solving | No Comments »

Bring Your Toolbox, Not Your Rulebox

Tuesday, January 11th, 2011

One of the best improv groups I’ve ever seen is the three person team, Dasariski, consisting of Bob Dassie, Rich Talarico, and Craig Cackowski, who perform at I.O. West in Los Angeles. They are a great group for a million reasons. My favorite thing about them is that they are incredibly patient about letting the game come to them. They are as delighted as the audience by what they discover in their scenes, and they discover a lot. It’s what makes a Dasariski show a delightful experience.

Talarico2 When I saw that Rich Talarico would be conducting an 8-week class entitled The Way of Improv, I jumped at it. We had our first class this past week and just as one might expect from a Dasariski player, the coaching was patient, and it was delightful.

Rehearsal space is sacred space, and I’m not going be reporting on these classes, but Rich said something wonderful early in the first class that is worth sharing. I don’t think he’ll mind, because it is drawn from the commonly-shared language of improvisers. He said, “We don’t have rules, we have tools.”

That, to me, is a perfect summation of what improvisation is all about. Of course, there are rules to every game. In business, there are rules governing every transaction. What Rich meant is that the art of improvisation itself has no rules. It has tools. We put our tools to work to liberate performance. Rules are just there to give shape and context to the performance. In terms of improvisation, rules are to tools what the block of wood is to the hammer, what the plaster is to the putty knife.

When you invoke rules to guide your process you are using a block of wood to hit the nail. You are throwing wet plaster at a crack in the wall. To solve the problem, bring your toolbox, not your rulebox.

Tags: Dasariski, I. O. West, Patience, Rich Talarico, Rules, the Way of Improv, Tools
Posted in Coaching, Education, Environment, Fundamentals, Games, Group Mind, Issues, Objectives, Problem Solving | No Comments »

improvgroupon

Monday, December 13th, 2010

GrouponLogo1 This 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?

Posted in Character, Entrepreneurship, Environment, Group Mind, Networked World | No Comments »

Zero History Lessons

Friday, November 12th, 2010

William Gibson

Where trajectories of fashion, business, government and technology will someday intersect, William Gibson is already there, reporting back in mindbending detail. His novels are, for me anyway, like books of code, densely-clued mysteries about the near future, that challenge a present-day intelligence to unravel them. Here is one clue that gets dropped over and over again in Gibson’s newest novel, Zero History:

In the future, improvisation is a must-do.

Page 135: “Doing it, as a pickpocket had once advised him, as if it were not only the expected but the only thing to do.” The improvisation: When you invest in your scene, the scene makes choices for you. ‘Doing what’s expected’ is someone else’s script for you, it’s a voice in your head that’s not even your own. ‘Doing the only thing to do’ is the feeling that you are in tune with everyone and everything around you. It is acting on the clarity of one’s intuition instead of obeying the voices stored in the RAM of one’s rational mind. Just don’t be using your new-found powers to pick pockets. Not all improvisation is put to work for the good of the team. Beware the bad game!

Page 171: “THE ORDER FLOW” (Chapter title.) Gibson’s characters talk about “the inability to aggregate the order flow”—the sum of everything being bought and sold around the world at any given moment in time—as being the dynamic that keeps markets alive. “Stability’s the beginning of the end,” says the character of Milgrim, a high-level intuitive, quoting an even more intuitive base jumper named Garreth. “We only walk by continually beginning to fall forward.” The improvisation: Always fall forward, never stand still. Turn fails immediately into positives. Embrace flow. Stasis—a static state—is the enemy. Harness chaos with structure. Subvert structure with flow.

ZeroHistory1 Page 202: Garreth talking about whether a phone call that’s crucial to their fates will happen or not: “Either way, we’ve moved it forward.” The improvisation: ‘Something happening’ and ’something not happening’ are both opportunities to move your scene forward. Don’t worry about what will or won’t happen, do something with whatever happens.

Page 225: “You’re just doing this to see what happens,” says Milgrim. The improvisation: Do something and see what happens.

Page 234: “…some kind of London PR hive-mind thing,” says a character named Heidi, a biker chick who uses taser-tipped darts as her weapon of choice. “Wires are hot but there’s no actual signal. Kind of subsonic buzz.” The improvisation: This is a description of the group mind. Nothing perceptible is communicated. What the group needs to know is simply, without ever being consciously transmitted, already there, waiting to be shared.

Page 319: “Follow the accident. Fear the set plan,” says Garreth. “I thought you loved plans,” says Heidi. “Love planning. That’s different. But the right bit of improv makes the piece.” The improvisation: Think of your process as a series of scenes, in Gibson’s lingo, ‘pieces.’ Preparation is more important than planning. Planning goes out the window in the first few beats of your scene, but preparation will be there for you throughout.

Zero History also has juicy insights into the future of marketing and brand strategy, which I’ll post separately.

Now go do something to see what happens.

Tags: Buzz, Chaos, Flow, Fundamentals, Garreth, Heidi, hive mind, London PR, Marketing, Milgrim, Movement, Order Flow, Preparation, Structure, William Gibson, Zero History
Posted in Fundamentals, Group Mind, Movement, Narrative, Networked World, Scenes, Speed, Uncategorized, story | No Comments »

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.”

Tags: Creativity, Dasariski, Disney, Games, Group Mind, Innovation, Isaac Newton, London, Networked World, Oxford, Pixar, Plussing, Steven Berlin Johnson, TED, Viola Spolin, Where do ideas come from?, Yes And
Posted in Additions and Edits, Creativity, Entrepreneurship, Environment, Games, Group Mind, Innovation, Narrative, Networked World, Speed | 2 Comments »

The Trapped Chilean Miner Game

Thursday, August 26th, 2010

Several years ago, in a Level One improv class at I.O. West, I did a scene with Parvesh Cheena where he and I were given the situation of being trapped together in an elevator. I immediately began McGuyvering my way out of the situation. (”You got a paper clip? We’ll pick the lock on that panel and…blah blah blah.”) Big rookie mistake. Our teacher, Sarah Gee, said to me, “If you get out of the elevator the scene’s over. Show us who you are to one another while you’re trapped!”

TrappedMiners1 This broke today over CNN. The 33 men trapped in a Chilean copper mine have begun to assume different roles that will help them survive the time, estimated to be months, it will take rescuers to drill through 2300 feet of solid rock to rescue them. This is brilliant. They’re designing a game to help them get out alive without going batshit crazy while they’re waiting to be rescued. This is going to give us all a good look at how a game works, and how it informs and inspires group strategies. One thing is already clear: There are some good improvisers trapped in that mine.

To review, here are the elements of a game: Environment, Roles, Rules, Objective(s).

Let’s begin with the Objective. Simple: ‘Get out of here alive without going crazy.’ Same as most survival strategies.

The Environment of the Trapped Chilean Miner Game could not be more starkly defined: A pool of darkness deep beneath the surface of the earth, and the rest of the world watching up above. The contrasts between the Down Below and the Up Above are extreme, an archetype embedded deep in every human’s subconscious. The Well, the Fallen Rubble, the Cave, the Mine–all tap deep into our unconscious, where our memories of the womb are stored. As my friend Richard Wynn Taylor says, “It will remind us of something we’ve never seen before.”

The Roles, as stated in the CNN story, are developing. One of the miners has become a spiritual leader. Another an entertainer who sings Elvis songs. Expect that all or most of the miners will eventually define roles for themselves, some as group characters (’peacekeepers,’ ’storytellers,’ ’spokespeople,’ ‘mediators’ etc. etc.) Some of the miners will play more than one role, depending on the scene they’re in. Eventually some of them may trade roles, taking turns speaking to the media, for example. What’s also interesting about the roles element of the game is that all 33 men trapped in the cave will, for the duration of their rescue, abandon the roles they were playing when they went Down Below: None of them will be playing the role of a miner. Note also that ‘trapped miner’ is not a role. It’s a circumstance. Your circumstance does not define your role; it’s your behavior in your circumstance that defines your role.

Expect that in the coming weeks, we’ll be hearing about the Rules of the TCMG. These Rules will be designed to create agreement and establish ground rules for the miners’ interactions. The rules will initially address the fundamentals such as sleeping, eating, sharing resources, communicating with Up Above etc., and then get more detailed. The rules of a game will not be designed to create sameness or repetition, but to liberate performance, by empowering players to play their roles well. The miners cannot afford to get weary of their roles. It will be interesting to see how many rules will be set or influenced Up Above.

Unlike a reality TV show like Jersey Shore, where editors manipulate the juxtaposition of shots to create scenes and the sequence of events to construct a narrative, the ‘live-ness’ of this scene will demand improvisation, and that means the miners will be the primary architects of their narrative.

The intense focus on this particular scene by the world media, is going to make the elements of the game highly visible. We will be able to track how well the trapped miners are doing by how focused and productive they are in playing their game.

What’s going to hold our interest about the Chilean Miner scene will not be the drama of whether or not they make it out alive. The objective, the ‘Will they or won’t they’ aspect of the narrative, will only carry it so far. What will hold our interest is how the miners behave in the meantime. How well we get to know them. Who they are to their families, and to one another. What kind of character traits emerge. This is true of any narrative. If you want to hold your audience’s interest, don’t focus on how you want it to end, but on how you want it to be.

When the miners’ survival becomes imminent, their game will transform from a survival strategy to a business strategy. To the objective of ‘Get out of here alive without going crazy,’ they will undoubtedly add, ‘Make Money.’ When the miners finally walk into the light, the game may change, but it will not end.

Buena suerte, Mineros!

ChileanMiners2

Tags: Environment, Game, Jersey Shore, Narrative, Objective, Reality Shows, Roles, Rules, television, Trapped Childean Miner Game, Trapped Childean Miners
Posted in Agreement Principle, Casting, Character, Environment, Focus, Fundamentals, Games, Group Mind, Narrative, Objectives, Scenes, story | 3 Comments »

GameChangers Glossary, A to G

Monday, August 23rd, 2010

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

Addition–Entering a scene in progress for the purpose of contributing immediately to the team’s performance; contributing to a scene; giving a gift

Agreement, The Agreement Principle–A principle of improvisation, characterized by players’ openness towards each other and an organization or communications network’s openness at its edge; the group consensus around a game or theme that informs a scene

Audience–Those within and outside of an organization whose reactions and opinions will determine the success of a scene or performance

Audience, External–People outside an organization or network, including customers (and potential customers), competitors, bloggers, users, fans, viewers, etc. whose reactions ultimately determine the value of a performance or narrative

Audience, Internal–People inside an organization or network, whose judgment acts as a kind of filter on scenes and narratives before they reach the External Audience

Blocking–A performance-related problem that occurs when players impede the progress of a scene by refusing the gifts offered them by their teammates

Callback–The act of recalling information that was stated by a player earlier in a scene or in a previous scene.

Cast–Players who share the same business objective; also called a Group or Team; can also refer to the employees of an entire division or organization (Disney, for example, refers to all employees as ‘cast members’)

Casting–The process of selecting players who will comprise a business team

Character–Traits that make a player unique as an individual and consistently valuable to his or her team

Close, Del–Credited as one of the originators of longform improvisation, and one of its most influential teachers, Close (1934-1999) created ‘Harold,’ probably the most-performed structure for group improv theater performances; his proteges include Bill Murray, Dan Ackroyd, John Belushi, Amy Poehler and Tina Fey; legend has it that he willed his skull to the Goodman Theater in Chicago to be used in future productions of Hamlet, in which he was to be billed as playing the role of Yorick

Coach–A person who casts a team; an objective observer and critic of a team’s performance; one who establishes game-based strategies and standards of preparation and performance in directing a team toward its objectives; manager; director

Cosmetic Communication/Meaning–The surface level of communication within a scene, primarily through spoken dialogue; data; information. (See ‘Emotional Communication/Meaning‘ and ‘Meta Communication/Meaning‘)

Crazy Town–A performance-related problem that occurs when players indulge in fantasies, magical thinking, or egoistic behavior, until the scene becomes un-moored from any actionable reality.

Denying–A form of blocking in which a player repeatedly contradicts or ignores other players, confusing the audience and fellow players; refusing to recognize another player’s reality

Edit–The action of making an entrance for the purpose of shifting the scene’s focus, or to begin a new scene; edits usually occur in concert with other players exiting the scene

Emotional Communication/Meaning–The most dynamic and meaningful level of communication in a scene. conveying its players’ passions and desires, where reactions (both positive and negative), and reinforcements/alienation are strongest

Energy–The pitch at which a player or group performs (and modulates) its performance; an umbrella term for the level of activity and intensity the audience observes in the group, and that players in the group experience in one another

Entrance–A player’s first appearance in a scene

Environment–The setting in which members of team collaborate to achieve their objective; any place where players interact; more expansively, any place where an audience experiences a brand; the overall business climate in which an organization operates, shaped by factors such as regulatory agencies, competitors, geopolitical factors and the desires, attitudes and beliefs of customers

Exit–A player’s departure from a scene

Fantasizing–A performance-related issue that occurs when players build outlandish, or wildly fictitious scenarios that do not acknowledge or act on the real world environment or the businessa; magical thinking; (see ‘Crazy Town‘ and ‘Invention‘)

Flatlining–A performance-related problem that occurs when players show no energy or life, impeding or halting a scene’s progress

Game–Rules, roles, environment and objective(s) defined; an exploration of a theme; a strategy used to achieve a business-related objective; games fall into two broad categories – productive and unproductive

GameChanger–A player who has mastered the art and practical techniques of business improvisation; a manager/coach or player with the ability to identify and support productive games and quickly change or edit unproductive ones

Gift–A move that supports the scene and the players in it; ‘giving gifts’ is one of the most powerful and effective moves a player can make

Grandstanding–A performance-related issue that occurs when a player wastes time and effort trying to contribute something ‘heroic’ to a scene; holding back for effect instead of engaging in the moment; habitually swinging for the fences or reaching for the ‘Wow Factor’; going for a home run when a single would better serve the scene

Group Mind– The tangible web of connectivity between players that achieved through a shared focus on a game and the exploration of a theme; the collective unconscious; not the same as ‘Group Think‘

Group Think–Rubber-stamping; going along to get along; consensus for its own sake; agreement that does not involve a game or theme; behavior that is not intended to achieve the objective, but rather to reinforce status; uncritical or unquestioning support for a political agenda, ideology or hierarchy

TO BE CONTINUED….

Tags: Definitions, Dictionary, Explanation, Fundamentals, Glossary, Terms, Words
Posted in Additions and Edits, Agreement Principle, Branding, Casting, Character, Coaching, Communication, Dialogue, Emotion, Entrances, Environment, Fundamentals, Games, Gifts, Group Mind, Issues, Narrative, Objectives, Scenes, Themes | No Comments »

Words From a Hopi Elder

Monday, April 19th, 2010

Painting by Bill Schenck www.schencksouthwest.com

“You have been telling the people that this is the Eleventh Hour. Now you must go back and tell the people that this IS the Hour. And there are things to be considered: Where are you living? What are you doing? What are your relationships? Are you in right relation?

“Where is your water? Know your garden. It is time to speak your Truth. Create your community. Be good to each other. And do not look outside yourself for the leader.

“There is a river flowing now very fast. It is so great and swift that there are those who will be afraid. They will try to hold on to the shore. They will feel they are being torn apart and will suffer greatly. Know the river has its destination. The elders say we must let go of the shore, push off into the middle of the river, keep our eyes open and our heads above the water.

“And I say, see who is in there with you and celebrate. At this time in history we are to take nothing personally, least of all, ourselves. For the moment we do, our spiritual growth and journey comes to a halt.

“The time of the lone wolf is over. Gather yourselves!! Banish the word struggle from your attitude and your vocabulary. All that we do now must be done in a sacred manner and in celebration.

“We are the ones we have been waiting for.”

Then he clasped his hands together, smiled, and said, “This could be a good time!”

Tags: Arizona, Communication, Elder, Eleventh Hour, Hopi, Leadership, Nation, Oraibi, Relationships, Struggle, Teamwork, Water, Wisdom
Posted in Communication, Emotion, Environment, Fundamentals, Group Mind, Listening, Themes | No Comments »

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