Archive for the ‘Movement’ Category

Life is Long

Tuesday, January 3rd, 2012

ET1One night when my son, Alex (who’s leaving tomorrow for a job in NYC) was five years old, we watched the movie E.T. together at home. When E.T. left Elliot to return to his home planet, Alex cried. He was still sad when I tucked him into bed a little later.  “Why did E.T. leave?” he asked.

“E.T. had to go home,” I said. “To his family, on the planet where he lives.”

“I didn’t want him to go. I wanted him to stay with Elliot.”

“E.T. and Eliot were sad about it, too. But they love each other. And as long as they love each other, they’ll never really be apart. In their hearts, they’ll always be together.”

A pause, as Alex ponders.

“So you and I will always be together?”

“Yes, Son, you and I will always be together.”

Of all the motivational sayings used in business my least favorites express the idea that  ‘Life is Short.’

Because you see, Life is not short. Life is long. Our own lives are short, for sure. Birth, fornication and death—as the poet Ogden Nash so succinctly put it—are the facts when you get down to brass tacks. A human being’s life—or a whale’s or a bacterium’s—is a tiny spark in the night of eternity. But to say or act as if life itself is short generates the kinds of  hurrying and worrying that can cause us to miss much of what life actually is, or can be.

Life is long like the love a parent has for a child. There is nothing short about that. Nothing hurried. Time ceases to matter when we are proving our love.

Life is long like the warmth of a fire on a cold night. We are warmed as much by an experience as old as humankind as by the fire itself.

No matter what mountain we have chosen to climb, or what sudden twist of fate confronts us, when we behave as if life is short, we begin to hurry, and that’s when mistakes happen. As the basketball coach John Wooden said, “Be quick, but don’t hurry.”

My wish for 2012 is that we all find ways to appreciate the idea that life is long

That the reason we make footprints on the planet is to mark a path for who comes after, and that it’s not the size of the footprint that matters, but the direction of the path.

That we are patient with one another, and not short, abrupt, rude, inconsiderate, unkind—all the stuff we do intentionally or not, when we get impatient, when we are driven by the ticking of an internal clock that no one else can hear.

That we embrace the notion that our Success is inevitable, and so is our Failure.

That the Birth-Fornication-Death thing is fleeting, but poetry endures.

That we remember that nothing of value was ever harmed by the taking of time. (I thought Abraham Lincoln said it, but can’t find the citation. What’s likely is that even if Abe Lincoln did say it, someone said it before Abe. Because life is long.)

That we see growth not as something that takes time, but as something that transcends time, because growth is happening now and always has been. What can take time is our own ability to see and make sense of it. The Disney animator Ken Anderson once pointed out to me, about the great old California Oak trees in Descanso Gardens near his home in Flintridge, CA, “The trees are dancing. If you could look at them over a long, long time you would see them dancing.” Life-is-short sees a tree. Life-is-long sees a dance.

That while our time here is limited, our ability to love one another is not. And that as long as we act out of love, our footprints will mark a path worth following.

Have a lively 2012! Don’t be the Tree, be the Dance!

Boje

Wednesday, November 16th, 2011
Dr. David Boje, the 'Einstein of Story'

Dr. David Boje, the 'Einstein of Story'

This morning, I’m wrapping up a visit with Dr. David Boje, who’s on the faculty of the business school at New Mexico State University. Boje’s work focuses on storytelling and its effect on business (huge!) I participated in two of his classes, one undergrad, one for PhD candidates, in which we explored what he calls the Quantum Physics of Storytelling and its relationship to improvisation. We found all kinds of connections and I think we both came away from the experience feeling there’s  lot more to be discovered and explored in this realm. Improvisation is the ‘trigger mechanism’ that can release the quantum energy (and meaning) stored in stories. Boje’s work provides the framework for the process and the empirical evidence of its outcomes. We’ll leave it at that for now. Very excited to see where this scene goes, and how it can help GameChangers’ clients!

JIM ROME’S JUNGLE GAMES

Friday, August 12th, 2011

RexGame1Huge fan of Jim Rome’s work here. Guy has as much game as any sports journalist, ever. The depth of knowledge, the richness of the vocabulary, the energy and focus and the network he’s built are awesome. His interviews with sports personalities and scenes with his ‘Clones’ (what he calls his audience) who hang out in ‘the Jungle,’ (his network), are great examples of improvisation at work. Listen and add. Yes and. Make statements. Listening to Rome is like watching Dwayne Wade in the open court with a basketball. If you like sports, the Jungle is always a good hang.

Rome and his radio production team recently played a 20-show game they dubbed “The Rex Game.’ One of his producers noticed one day that they’d had someone named Rex on three consecutive shows. An improviser, seeing such a pattern, has one response: Do more! That’s what Rome and Team did, they kept interviewing Rex’s.

For 20 consecutive shows, they interviewed someone named Rex. Imagine how much bullshit a game like this cuts through in production meetings. How it swept subjectivity, judging, opinionating, credit-claiming and ego out of the room like the Red Sox do the Yankees at Fenway. “We have a guest.” “Who?” “Rex.” “Book it.”

How easy is that? compared to, let’s say…

“We have a guest.” “Who.” “A soccer player. She’s interesting.” “How interesting?” “Real interesting.” “To you she’s interesting because she’s hot. But this is radio. Does she have a take?.”  “She has a take.” “What kind of a take?” “A good take.” “How good?” Etc. etc. etc.

Rome summed up the benefits of the Rex Game like this: “You don’t get to 20 Rexes without stretching a little bit.”

Exactly. Extension is what you want out of a game. Doing something you’ve never done before in order to get where you’ve never gone before. That’s what improvisation is all about.

Interestingly, when Rome got requests from callers and his producers for him to play another similar game, say a Derek Game, Rome riffed on it for a bit, “Derek Jeter, Derek Harper, Derek Coleman, Derek and the Dominoes…” and then quickly decided against it. This is an excellent example of a clean edit, something else Rome does exceptionally well. His transitions are clear. He never meanders.

UPDATE: Though Rome decided against the Derek Game, he and his team are playing a Kyle Game, interviewing someone named Kyle for as many days in a row as they can. Just more proof of how much game the Rome team has. As the great improviser, Craig Cackowski, says, “Don’t look for the game. Look for a game.”

The Jungle is full of game  You can always let go of one vine and grab another. Just make sure you have a take when you do, because the Jungle can be a cruel place when you don’t.

Is Your Outfit like Prince Harry’s?

Monday, June 27th, 2011

As a former drum major for the Jasper (Indiana) High School Marching Wildcats, and a former member of Notre Dame’s famed Irish Guard, I am a more-than-casual observer of ceremonial garb. Been there. Wore that. It was impossible to avoid images from the recent Brit Royal Wedding, and with my background, it was hard to ignore Prince Harry’s deal that day. There haven’t been so many knots and braids in one outfit since the Throne kept a hangman on the payroll. Check it:PrinceHarryOutfit1We are always looking for metaphors that convey the value of improvisation in business, and this is a biggie, because Prince Harry’s outfit is the exact opposite of improvisation. It is the result of centuries of scripting, hierarchical thinking and deeply coded institutional memory. And it prompts a good question: In what ways do yours and your organization’s communication practices resemble Prince Harry’s outfit? (And what are you going to do about it?)

Are your epaulets–whatever you ‘carry on your shoulders’–tied so heavily to obligations that it causes you to bend over in your carriage with eyes down instead of keeping your spine straight, and your vision up the road? Look at those braids and ropes latticed into Harry’s epaulets! They used to pay Houdini big money to escape from messes like like that.

What kind of collar do you wear? Is it stiff and tight like Harry’s ? Does it restrict your range to the ‘Voice of the Monarchy’ that His Hankness has been taught to repeat? Or is it loose and open, so that your voice can express all the colors and range of the voice of an opera star like Juan Diego Flórez?

Does your outfit sport ribbons and medals that require a degree in Heraldry to interpret? Or do you walk into scenarios unadorned, prepared to adapt to whatever best suits the situation and the problem at hand?

And speaking of hand…does your outfit give everything and everyone the white glove treatment–no dirt, and no skin except for a penny-sized patch in the fat of your palm? Or is your sense of touch free to achieve its full potential? In a digitally-mediated world, touch is a hugely appreciated experience.

If you put a lid on your outfit, do you do it in an old-school marching band style like the unfortunate Harry, who presumably had no choice in the matter? Or do you make it a lid that people might actually choose to wear themselves? Can you imagine a non-Halloween event where you’d want to wear a lid like Harry’s?

Now..in contrast with the Best Man’s outfit, take a look at what Pippa Middleton, the Maid of Honor, is wearing:HarryPippa1

Everything about Pippa’s outfit contrasts with Hank’s. It is open, subtle, simple, and elegant. For such a momentous occasion, it is surprisingly casual. Most of all, what comes through is the personality of the wearer. There’s nothing in its design to distract us from her Pippa-ness, which is downright lovely, even the tension around her mouth, which says she’s putting up with the pomp, maybe she’s even amused by it, but she’s not reveling in it.

Who’s playing a role and who is showing character?  Who is trapped in the past and who is living in the moment? Who is free to move, and who is tied down by an institution? Who’s going to look good in shoes or barefoot? Who could go for a swim without drowning? Whose attire wouldn’t damage you physically you if you slow dance together?

Improvisation results in an outfit like Pippa’s, one that best suits the occasion, and shows you in your best light.  A totally-scripted outfit like Harry’s sits around in the closet, waiting for an occasion to suit it. That’s a lot of overhead. Unless you’re His Royal Highness Prince Henry of Wales, you probably can’t carry it. And even if you can, why would you want to?

It was like this, see...

It was like this, see...

ERGO YOUR IDEA

Tuesday, June 21st, 2011

The first time I experienced demand for new system architectures was when we had eight ‘information architects’ on the staff of our internet company, iXL, from 1997-2000, and they were booked solid  for most of that time. We all loved working with them. It was the ultimate white board exercise. They were the first people in the history of the world to have this particular job, and so, with absolutely no standards to which they had to be held, they excelled. People like Josh Galban (today, a product designer at MatchCraft), Ben Bratton (an urban architecture professor and writer-in-residence at UCSD) and Anuradha Sachdev (an experience designer at iCrossing) were among the infonauts who guided us toward  those early user experiences. Because there was no ’stock’ of knowledge about their nascent profession, they had no choice but to learn, and what they learned has been enriching them, their co-workers and their employers ever since.

I think there is a similar need for game designers in business today.

Networked structures and systems are as different from Industrial Age systems as a jellyfish is from a jetty. Networked companies must adapt. Continually differentiate their brands. Quickly recognize and act on opportunity in a constantly-morphing business environment.

Networked companies absorb and ride change like seagulls adjust to the wind.

Continuing our trip to the beach…a rigid, hierarchical approach to business has about as much chance in this environment as a sand castle does at high tide. The flow of change is that strong, that tidal. The new structures must be fluid, like the roiling environment they navigate every day. Fortunately for us human beings, we are 90% water. Fluidity is in our nature. It’s there. All we have to do is recognize and embrace it.

Games are among the most dynamic and productive structures that can be introduced to a system. They legitimize authority, lend themselves to accountability and encourage autonomy–energies that must work in concert for a networked organization to succeed.

At GameChangers, we design improvisation games to help clients achieve their business objectives. Our definition of a game is E-R-G-O. Environment, Roles, Guidelines and Objective(s). If you can define those, game on.

Ideas are cheap; execution is hard. Games require execution. An idea is like a game that’s never been played. We never consider an idea–for either ourselves or our clients–without looking at it through the ERGO lens. Whether an idea is any good or not is a a subjective discussion. The experience of playing a game, by contrast, can be analyzed objectively.

GC_GameGrfx1In a networked world, the power of an idea, its ultimate meaning, resides in ‘how much game’ it’s got. How much ‘play’ it generates. Games create focus. Elevate performance. Stir emotions. Reward innovation. They result in great stories. The value proposition is the size of Monstro the Whale.

(NEXT: POOR GAME, RICH GAME)

Vaillancourt’s List 5.0

Monday, January 10th, 2011

Vaillancourt1The extraordinary improviser, Paul Vaillancourt, gave me a list of sayings that have been compiled and passed around the improv theater community over the years. The great teachers Mick Napier and Del Close get some of the credit, as do Viola “The Godmother” Spolin and ImprovWorks’ Sue “Pond” Walden, though the exact origins of most of these sayings would be pretty hard to trace. What’s clear to anyone who explores improvisation is that the the meaning behind the sayings originates from the same place that accounts for such profound ideas as jazz, the Dao De Jing, Johnny Appleseed and Pixar Animation.  Here is the fifth in a series (quotes in bold):

Play against cliches. First, play with the cliches of your business.  You all know what they are.  Name them.  Call them out.  Have some fun with them.   And then go against them.  There is a lot of movement in playing against cliches.  Just doing this one thing can transform your scene into something delightful.

Think of the environment as a six-sided sphere, of which the audience is a part. What a brilliant way to determine your marcomm budget!  It’s 1/6 of your total operating budget.  Done.  Next.

The environment also has an outside and an inside. This is a good way of thinking about how your brand’s environment travels with the communication that represents it in the networked world.  Think of your network as a place.  What is that place like?  Who is walking the halls?  How is it lit?  What kind of art hangs in its offices?  What does it sound like?  All these concepts should be consistent and play off one another in virtual space and in reality. A friendly atmosphere in the office extends to the social graph.  Artfulness will be apparent in reality and in virtual space.  Clutter is as clutter does.  Etc. etc.

You don’t have to try to be funny, laughter will happen just by being human.  Being human is funny enough. A common misconception we battle all the time at GameChangers is that improvisation is all about being funny.  So not true!  Improvisation is about communication, learning, and transformation.  It is only by a quirk of genetic fate—Viola Spolin’s son, Paul Sills, brought all the games Viola had conceived with him when he and Bernie Sahlins co-founded Second City—that we in the U.S. associate improvisation so strongly with comedy.  Comedy is just a sliver of the output improvisation is capabl of generating.   It’s like saying all ice cream Praline Pecan.  Taint so.

Playful, direct, co-developed ideas, informations, and dreams will always be far hipper than one person’s alone. This is just a basic human algorithm.  The best ideas of eight people will always be better than the best ideas of one person.  Spare us your genius, and bring us something else.  Your work ethic.  Your brain.  Your smile.  Your song.  Your sense of smell.  Your experience.  But spare us your genius.  Because, you know…our stuff will always be far hipper than yours alone ; )

The Mighty And

Monday, November 29th, 2010

Yes“Getting to yes” is a popular phrase among business managers. (It is the title of a 1981 book by Harvard professors, Roger Fisher and William Ury.  A 1991 re-issue added an author’s credit for the original editor, Bruce Patton—apparently it took the authors ten years to get to Yes).  The book dealt with negotiating tactics, and spent a record number of weeks on the Business Week best-seller list.  Over the past 30 years, the book’s title has taken on a lot of meta meaning among managers:  Close the deal.  Don’t take “no” an answer.  Get ‘er done.  Reach agreement.  Earn eyeballs.  Satisfy the customer.

In a networked environment, it’s easy to get to Yes.  Anyone can say Yes to anything.  One could make a pretty good case that in large networks, especially when it comes to innovation, there’s an epidemic of ‘yessing,’ paralleled by an equally virulent epidemic of doing nothing about it.  This is a kind of safe harbor, an advantageous position for piggybacking on successes (”A big fan from the start.”) and distancing oneself from failure (”Not taking the hit for that mess.”)

As a description of a particular point in time, “Getting to yes” is fine (and the 1981 book has still-relevant advice for negotiations and sales).  “Yes” does not, however, describe a process.  It’s a status:  Thumbs up.  Good to go.  Roger that.  A big 10-4.  As a status it is, by definition, static.  And “static,” in a dynamic environment like the one in which business operates today, is death.And

By contrast, “Yes and,” a basic building block of improvisation, describes a process, an obligation by every player in the game to contribute, and actively build on the reality of the moment.  In terms of process, “Yes” is the icing. “And” is the cake.  “Yes” may get all the credit, but “and” does the work.  “Getting to and” invokes participation.  It demands collaboration.  It results in extension of ability and expansion of possibility.  “And” moves the narrative. It unlocks the adaptive processes demanded by a networked world.  Adaptation means movement.  And movement is life.

To live, to grow, to seize the potential of the moment, don’t make things good.  Make them better.

Zero History Lessons

Friday, November 12th, 2010
William Gibson

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.

ZeroHistory1Page 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.

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!

Run With A Purpose!

Saturday, April 17th, 2010

Here’s the way it’s going to be one morning in the future:

IMG_7863While you’re lacing up your Google running shoes, or in the vernacular of this future, your ‘Googs,’ you get an alert on your mobile that there’s a major drought looming in Tibet, which is on track to record its lowest snowfall ever.

You program your Googs where to send the 1,000 foot-pounds of energy you’re going to generate during your 6K run.  Around the world, millions of others who belong to the Himalayan Foundation like you do get the same alert, and trigger the same program on their Googs– and additionally via the movement generated by wearers of the 12 other shoe brands, two brands of workout machines, a theater seating company named Squirmigy, four flooring companies, and a wheelchair manufacturer–all of which the Himalayan Foundation has networked on the Donorgy platform.

For the next hour, the energy generated by the movement of the users of all these brands will be auctioned by the Himalayan Foundation and sold as futures on global commodity networks.  At the end of the hour, the contracts will be delivered and all bets get paid off.  With the money raised in a little over one hour,  the Himalayan Foundation will be able to fund a fleet of  gigantic solar powered cargo-cleaning blimps (known as Humptys) to pick up a billion metric tonnes of water from a flood in the Phillipines and clean and haul it to the farmers and communities of Tibet, who can now keep Buddha smiling for another season.

Okay, we’re not there yet, but we will be someday.

MEANWHILE…here’s what we got.  We run for causes.  The mechanism by which funds get transferred to various causes is to the aforementioned scenario what a Stanley Steamer is to a Lexus.  We’ve got a ways to go, but we work with what we’ve got.

Kevin Wall

Kevin Wall

TOMORROW, SUNDAY, APRIL 18…Kevin Wall and his band of Live Earthlings will stage a Run for Water that will channel money to a number of organizations who dig wells and provide clean water for poor communities in Africa.  It is the ‘opening act’ for the big concert Wall and Live Earth are producing to open the 2010 World Cup in Johannesburg in June.  Proceeds from that concert will also flow to social networks supporting economic development in Africa.

The cynic in me says this is sponsored by Dow Chemical.  Those Bophal people.  The thing is, it takes big money to solve big problems.  The waste and misallocation of the planet’s resources is a big problem, and Kevin Wall has a special genius for getting large organizations to direct big money at big problems.  movement.  Yea absolutely, the guy can  be a pain in the ass to work with.  Between him and Al Gore, there was pretty much no oxygen in the room on the Live Earth concerts (the plants were happy, though : )  That said, Kevin has a great heart, he is a master business improviser who causes a lot of unforeseen positive outcomes in the projects he does, and he deserves the support of anyone–from Tony Dow to Dow Finsterwald to Dow Jones to Dow Chemical to Daniel Dao–who wants to work on better ways of treating the planet.

And I will guarantee that when roller skates and skateboards start generating energy futures, Kevin Wall will be the first in line for that deal.

Until then…what are we going to do tomorrow?!…

If you run, or can walk 6K, and are in one of the many locations around the world where this run is happening, it will definitely be a good thing for you to do tomorrow morning.   Program those Googs and throw some foot-pounds at the problem, why don’t ya!

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