Archive for the ‘Movement’ Category

Over Under Sideways Down

Tuesday, February 23rd, 2010

One of the characteristics of networks is their flexibility. What our communication channels looked like yesterday may not be what they look like today. This, of course, can be an asset or a liability. The net that allows us to build new relationships, discover markets and expand our potential for taking productive action is the same one that swallows channels and markets like a singularity sucking down solar systems in nanoseconds.  The global financial system, guaranteed, is right now teetering on the edge of such a debt-and-greed-spun vortex.  Call it The Bank Hole.

TheBankHole1In our crazy race to escape these kinds of vortexes, we can turn direction-blind.  We pick a course of action, or someone picks a course for us, and in our all-out effort to escape a certain fate, we go heads down as hard as we can for as long as we can in that direction, like barn-sour horses galloping toward a distant barn.  A strategy, as Umair Haque points out in his latest HBR post, can be just as bad as a locked-in direction, because it can confine or limit one’s options instead of liberating them.

What Haque advocates, and what we could not agree with more, is adopting a set of behaviors (he calls these behaviors ‘Wisdom’) that foster liberation of the ideas and the ethical actions that can deliver us from the Goldman-Sachs Singularity, and whatever else sucks.  These behaviors have no time frame, because they are timeless.  They cannot be quantified, because they are potentially limitless in number.

One of these behaviors (me, adding to Haque’s list) is to Envision.   And by that I don’t mean Ayn Rand’s old Burt Lancaster-as-One-Of-A-Kind-Genius concept of vision but what I call ‘Viola Vision’, which consists of ‘seeing and sharing what we see.’  This kind of envisioning expands our horizons, and gives us infinitely more options for escaping what sucks.  So in your quest for solutions, don’t forget to:

Look over. It’s how you get perspective on a problem.

Look under. Play with the dynamic of concealment and revelation.  Respect roots.  Dig deep.

Look sideways. My friend, the animation director John Musker, talks about stories as ‘taking an unexpected left turn.’  A sideways move can shake up your narrative in a way that keeps you on your toes and your audience engaged.

Look down. Who needs a helping hand?  Some days, this the only question worth answering.

Princess GameChange

Wednesday, January 20th, 2010

I have a special place in my heart for animation and animators, especially for the artists who draw it by hand. There are only a few of these people in the world. Some say hand-drawn animation is doomed, swamped and marginalized by CGI and the ‘illustrated radio’ that is TV animation. I say there have always been only a few of these people in the world, which makes them all the more rare and valuable, and that there will always be hand-drawn animation, even if it won’t be drawn with lead pencils on sheets of paper.

PrincessFrog2One of the greatest gifts of my professional life has been the opportunity to hang out and work with people who draw Disney animation. They are exceptionally gifted observers, and experience the world from their own unique space-time perspective. (Once, I was walking through Descanso Gardens in L.A. with the legendary Disney artist Ken Anderson and he pointed up at the huge California Oaks overhead. “Most people see these trees as standing still,” he said. “If we could observe them over time we’d see that they’re really doing a beautiful dance.”) Disney animators inhale life’s experiences deeply like that, and breath it out through drawings that show movement in 1/24th of a second increments, every drawing a work of gallery-worthy art, fed back to us in waves through the twin lenses of character and narrative, as a movie.

“The Princess and the Frog” may not get my vote for the best movie title ever, but it is a positively heroic comeback for hand-drawn animation at Disney, which has, in true fairy tale fashion, awakened, dusted itself off and gotten back in business after being rendered dormant by the Dark Prince, Michael Eisner, and left for dead by many.  And…it features an African American girl as its main character, a first for a Disney animated feature.  We have come a long way since the days of Uncle Remus and Br’er Rabbit. We still have a long way to go.  But if we are like animators…patient, observant, and aware that there is opportunity in every 1/24 of a second…we might just get there someday.

The Vacilar Game

Tuesday, October 27th, 2009
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John Steinbeck and Charley

There is a passage early in John Steinbeck’s book Travels With Charley that I often cite in GameChangers workshops, where he writes about a Spanish verb, vacilar, which he claims has no equivalent in English.  (It does NOT mean ‘to vacillate.’)  To vacilar, Steinbeck says, is to go on a mission without obsessing about its outcome.  To be vacilando is to be purposeful in your travels without sweating your destination.

Steinbeck wrote that a friend of his taught him to get vacilando by looking for something almost certain not to exist wherever you’re looking for it– fishing hats in Mexico City, a jai alai cesta in Anchorage or person in Dublin with no opinions.

To the left brain, this will seem like a big waste of time, a fool’s errand, but to the right brain, it’s pure liberation.  You never know what may turn up along the way or what useful new connection you will make.  Once again, vacilar does not mean vacillating.  Quite the opposite.  It imposes discipline upon one’s journey.  A sense of purpose and the nature of one’s inquiry trigger one’s discoveries, whatever they are.

Vacilar is a great game for creativity, innovation and problem solving.  You do not have to get to a stated destination to have forged a new path.  Business is awash in success stories, from synthetic rubber to Post-It Notes to Google, that resulted from explorations or accidents (the name ‘Google’ was an accidental misspelling of ‘googol.’) that yield unexpectedly rich outcomes.

Once, as I was explaining the Vacilar Game ame in a GameChangers workshop at NYU’s Stern School of Business, a smart student hit me with this question:  “Why don’t you just Google what you’re looking for?”

It is a relevant question:  In the age of Google, has the vacilar concept become obsolete?  It triggers a whole lot of sub-questions:

Have we become so menu-driven and search-reliant that if we can’t find evidence of a thing’s existence (and website and location and customer rating) online we won’t even bother to go looking for it in the real world?

Have the metaverse and the universe switched places, so that if an object doesn’t exist in cyberspace it will cease to exist altogether, like Marty McFly’s family evaporating from the Polaroid picture in Back to the Future?

Has the media-rich time-shifted virtual world gained an edge in our attention over plain old everyday reality and physical experience?

Has the augmented become more valuable real estate than the real reality?

Are we at the dawn of an age, literally a ‘second life,’ in which we’ll never again dance with anyone in person whose avatar we have not tangoed with first?

If that’s the way you want it, that’s certainly the way you can have it.  If you don’t want to leave the house without knowing for a solid fact that what you’re leaving the house for is waiting for you like a bride all dolled up on her wedding day, that’s your prerogative.

It’s just that you’ll be missing the romance of the journey.

Vacilar is why, a few years ago, a team of Honda engineers set themselves up with the task of building a humanoid robot that could run, and walk up and down stairs.  Such a robot did not exist.  The engineers themselves saw no practical reason, nor did they need one, for it to exist.  What they knew is that by ‘getting lost in the problem’ of designing a robot they would, along the way, make all sorts of useful discoveries about the nature of robotics.Asimo2

Vacilar is why our friend, Taylor Davidson, specializes in what he calls the Science of Serendipity.  Davidson’s process, which you could call full-time vacilar, takes him all over the world.  His is a discplined approach to creating unexpected connections. For photos that do not exist until he takes them, and relationships that do not exist until the ‘game’ of his journey causes them to occur. None of it could be Googled or Mapquested or scripted.  He uses technology as an enabler, but not as an endpoint.  From a business standpoint, this approach makes no sense except in retrospect, and there’s no time frame on the retrospection.

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Photo by Taylor Davidson

For a brief instant in that workshop at NYU, I let myself imagine, darkly, that maybe vacilar was an outdated game, that maybe it had been rendered irrelevant by Google’s algorithms, and would have to be stricken from the GameChangers lexicon.  And then I came to my senses.  In an outcomes-obsessed culture, the Vacilar Game has never been more relevant!

Life happens when we take the local, not the express.  When we are open to what and whom we run into unexpectedly, we make possible what we can’t imagine or bring into being on our own, and find new and productive avenues for expressing ourselves in the world.

To solve a problem, go where the problem isn’t.

In the Vacilar Game, getting lost is the first step toward discovering what no search engine can find.

The Unsung Hero of the Game

Wednesday, June 3rd, 2009

We cannot emphasize enough how often the origins of the productive game rest not with actions of the first person to act, but with the person who defines the game by supporting and adding to what the first person is doing.  The second person is the unsung hero of the game.

Ethan Bauley sent me a link that’s a perfect depiction of the ‘Unsung Hero’ idea. Take a look at this video shot at the recent Sasquatch Music Festival outside Vancouver:

The first dancer, Collin Wynter from Calgary, deserves credit for initiating well. He’s having fun, and he’s high energy, connecting with the music and the rest of his environment and not at all caught up in his own little world. He is acting on his environment (the hillside and the soft grass and the music) and as a consequence, the environment ‘acts on him’ as his dancing becomes infectious. But it doesn’t become a scene, it doesn’t find its game, until the second dancer joins. The second dancer adds and heightens, and from that point on, there’s no stopping this scene.

The second dancer learns the ‘rules of the dance’ from the first dancer, then yes-ands, making dance even more playful by falling to the ground and crawling through the first dancer’s legs. It is the second person who defines the game and plays it in a way (by yes-anding) that others cannot resist joining.

After the third person joins, the joining becomes a wave that lasts until the music ends. (And maybe beyond, that’s where the video cuts.) This same dynamic is characteristic of any productive game. A game played alone has finite potential, while a game that invites joining has unlimited upside. It is the second person to play who signals to the crowd that your game is worth joining.

This article in the Calgary Herald celebrates Collin Wynter as being some kind of hero, but does not mention the second dancer, or even the existence of the unsung hero of the game.

Pat Tillman’s Truth

Tuesday, November 11th, 2008

Rory Fanning served in the Army Rangers in Afghanistan with Pat Tillman. Today, Rory is in Tennessee, on an east-to-west walk across the U.S., to raise money for the Pat Tillman Foundation, and to honor one of his heroes. You can follow Rory’s long walk at walkforpat.org.

RoryFanning1

Here is an excerpt from a recent blog on Rory’s site, taken from a radio interview he’d done along his walk, in which he’d been asked by the interviewer to tell a Pat Tillman story: (more…)

The T. H. Culhane Game

Saturday, October 18th, 2008

John Culhane, a Rockford, Illinois-born journalist, author, and the model for the character of Mr. Snoops in the Disney animated film, The Rescuers, met his wife, Hind Rassam, a native of Baghdad, Iraq, when he reviewed her in a student performance of Antigone. John and Hind fell in love and had two sons, T. H. and Michael.

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It is no surprise that the Culhane boys are born performers, a couple of very animated characters.

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Once, as part of a story John did for the New York Times Magazine, he and the boys enrolled at Ringling Bros. Clown College in Sarasota, Florida, and T. H. and Michael became the youngest clowns ever to perform with Ringling Bros. Barnum & Bailey big show. (more…)

People Change the Game

Wednesday, October 8th, 2008

I’m hearing it from all over these days, so it must be official–the word ‘gamechanger’ has broken into the popular idiom. Why, I remember back in the day when it was just Pontiac Motors, A. G. Lafley of P & G, a few sportscasters, and me. Six weeks ago, William Safire wrote about the etymology of ‘gamechanger’ in his NY Times column. Now it’s everywhere, especially in politics. I must have heard the words ‘game’ and ‘change’ used together a dozen times last night in relation to the presidential debate.

This morning, my friend David LaPlante (if you want to read something beautiful, see his most recent blog entry) sent me a link to a CNN story and headline:

LaPlante Note

Here’s my response:

Candidates and media use the word erroneously, as CNN does in this story, when they refer to an EVENT as a gamechanger. A gamechanger is PERSON with the ability to change the game. Like you : ) A gamechanger can also be a brand, as in the focused, networked behaviors of a group of people who share business objectives. (more…)

One Move That Can Change Bill Gates’ Post-Microsoft Game

Friday, June 27th, 2008

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Good improvisers always pay attention to their physical appearance and presence.

Improv theater rehearsals sometimes focus almost exclusively on communication through one’s physical movements and attitudes. Players, for instance, will walk randomly back and forth across the stage as their coach calls out directions that alter their walks. The directions do NOT suggest a physical response (“Your left foot hurts.”) but an emotional one (“You just won the lottery!”) to be reflected in the walk. Each player responds in his or her own way. One player who ‘just won the lottery’ might skip; another will add some bounce to the step or glide to the stride; still another may walk around in a happy daze.

(more…)