Archive for the ‘Networked World’ Category

Where Are You Stuck?

Friday, February 18th, 2011

WAYSScreenShot1This is a demonstration of how connections are made in the Networked World.  And some observations about how Creativity and Destruction go hand-in-hand.

WAYSScreenShot2Because GameChangers followed and contributed (seven blog posts) to the narrative of the Chilean Miners…because we were curious about how the 33 miners happened to be wearing Oakley sunglasses when they emerged from the mine after their 69-day ordeal…because we made a connection with Jonathan Franklin, the correspondent for The Guardian, who was the only print journalist with complete access to the rescue site in Copiapo, and was responsible for the Oakley connection…because Penguin Press has just published Franklin’s book, 33 Men, the definitive account of the miners’ ordeal…and because a lot of companies are asking him to share his experiences and insights…

We have co-created a new GameChangers program inspired by Franklin’s observations during the 69 days at Copiapo.  The program will be offered in the U.S. and Europe.  We will present it for the first time on March 2, at a Global Leadership Conference sponsored by Diversey, Inc.  We are rehearsing it this Sunday in New York City, when Jonathan Franklin and I will meet for the first time in person.

We cannot stress this enough:  Narratives are the ultimate organizing principle in the networked economy.

33 MEN - 3dTraditional news reporting and the internet made us aware of ‘Los 33.’  Social media–Facebook, Twitter, this blog, etc.–helped us track and participate in their story.  Skype, email and telephone made personal conversations and collaboration between us and Jonathan Franklin possible.  The Applied Improvisation Network helped us extend the program to Europe.  Geo-locating apps–I can’t even tell you what they were– helped us locate and provide directions to our rehearsal studio in NYC.  I used a virtual concierge to book my travel.  And of course personal relationships made things possible that no technology or platform could.

Through it all, it was the narrative that guided us.  With a narrative as your guide, the choice of platforms becomes an objective process, a series of consistently logical decisions.  How best to participate in a narrative is an entirely different, and more productive, discussion from how best to deploy a platform.  Choose narrative!

Interestingly (and typically) the mainstream media, beginning with 60 Minutes last Sunday, have focused on the more sensational aspects of the ‘Los 33′ narrative—on the fact that in their darkest hours, when they had no idea if they’d ever be found, a few of the miners began to think about cannibalism, or that since their rescue they’ve been suffering from PTSD (this is news because?…).  In Where Are You Stuck? we focus on the positive aspects of the rescue.  On the heroic qualities of the miners and their rescuers.  Teamwork.  Altriusm.  Sacrifice.  Leadership.  Creativity.

In every crisis there is opportunity.  In every crisis, there is destruction.  For something to be created, something must be destroyed.  Doors open and close in unison.  Shiva is the god of creation AND destruction.  Productive change entails creative destruction.

When the times are a-changin’, getting stuck can become a chronic problem, because individuals and organizations get frozen deciding (or avoiding deciding) how to respond to the changes they are experiencing.  The challenge confronting anyone looking to get ‘unstuck’ is all about focus.  Will your focus be on the creative or the destructive aspects of the change?  Will you see the opportunity, or obsess on the loss?  Will you bang on closed doors or walk through open ones?  Will you cling to the status quo until you realize, perhaps too late, that what worked in the past isn’t necessarily what will work in the future?  Interestingly, this is the challenge facing the Miners today.  Working deep underground isn’t an option any more.  That is a closed door.  What got them out of the mineshaft isn’t the same process that will get them out of the ‘mindshafts’ in which they find themselves trapped today. When context changes, everything changes.  Including the nature of heroism.

What made the Miners heroic in the eyes of the world is still within them, but like anyone else, they will have to change their game to suit their new situation.  This time, unlike the 69 days they spent in the mine, they have a choice.  Choosing to move consistently in the direction of creativity, opportunity and the newly-opened door is a challenge each of them will have to confront in his own way.

Check out the Where Are You Stuck? program, and fill out the response form to let us know how we can best help you.

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.

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 Oakley Coda

Thursday, December 16th, 2010

Back in October, when the 33 Chilean miners emerge from the mine where they have been trapped for 69 days, they are all wearing Oakley sunglasses.  Every journalist covering their emergence comments on it.   Every photo of every rescued miner–and how many impressions is that worldwide?  Billions? Trillions? Chillions?—shows them wearing their Oakleys.  I’ve been following the narrative for a while, and long after the rescue has ended happily, I am still curious how those sunglasses got on those 33 billboards faces for all the world to see.LosMineros_Oakleys

Three weeks ago, I contact a friend, Kurt Kochman, who used to work at Oakley (he’s now the Web Customer Experience Manager for Skechers) who puts me in touch with an executive at Oakley, who puts me in touch with a PR person from Oakley named Diane, who puts me in touch with journalist in Chile named Jonathan Franklin, who Diane says, “Knows the story better than we do.” Hmm. A non-Oakley person who knows the Oakley story better than Oakley does? This is my kind of branding. No wonder I wear Oakleys.

Jonathan Franklin

Jonathan Franklin

The Chilean miners, it turns out, come out of that mine wearing Oakleys because Jonathan Franklin works his way through school in the 1980s by selling sunglasses.  There’s a lot more to it than that, of course, but that is how the thread begins. “I’ve always been a fanatic for sunglasses,” says Franklin when we speak on Skype this week. “When I was in college [at Brown University], I made my living selling sunglasses.  I had a company called All I Wear. We had ten or twelve students covering campuses up and down the East Coast. I’ve also been a street vendor of sunglasses.  Good ones. Vuarnets. Ray Bans. Oakley wasn’t on my radar yet.”

Here is what happens between Jonathan Franklin’s college years and the rescue in Chile that results in the miners wearing Oakleys:

2) Twelve years ago, Franklin moves to Chile where he works as a correspondent for The Guardian. He also freelances all over the Americas for publications like GQ, Esquire and Playboy. He embraces the Chilean culture, loves it there, gets married there, begins raising a family there.

3)  In 2003, five years after the move to Chile, while covering a story in North Carolina for GQ about the World SWAT Championships, meets Erik Poston, a sales rep for Oakley. He and Poston bond over their mutual interest in sunglasses technology. “He took time off from whatever he was doing to talk about the optics in sunglasses,” says Franklin. “Oakleys are great in the deserts or the mountains.”

(We call this mutual interest, or agreement, ‘finding the game.’  It is game that will pay off for its players seven years later.)

4)  When he arrives on the scene of the August mine accident in Copiapo, 800 km east of Santiago where he lives, Franklin is the only print journalist given a ‘rescue pass, which means he has full access to the rescue site, and regular conversations with the miners. His pass designates his job on the rescue site as ‘Writer.’

5) A few weeks after the miners get discovered still alive, Franklin sits in on a meeting at which the subject is the design of the rescue vessel [The Phoenix].  “Talk about improvisation,” he says, “there’s never been anything like this. At one point, they said they’d need sunglasses for the guys. They just kind of skipped right over it, said they’d get safety glasses or something.  They had so many things to think about that they just skipped right over the glasses.  I raised my hand and said, ‘Excuse me, I am only a journalist, and I don’t mean to be butting in, but why don’t you get the guys some Oakleys or some real sunglasses?  And they said we don’t care about that.  And I said how about if I’m in charge of sunglasses?  So they said okay, fine, one less thing for us to worry about, you’re in charge of sunglasses.”

(This is classic ‘yes-anding’ by Franklin.  Yes-anding can move a scene in an unexpectedly productive direction.  It can also, as it does here, transform a trivial detail into something important and valuable.  These little twists are the stuff great stories are made of.)

6) “God knows why, but I had saved the guy from Oakley’s business card. So I write him a letter.   I said I’m a journalist, I’m not going to make a penny off this, but if you get me the glasses, I’ll get them to the miners.”

7) Oakley responds immediately. They ask for specs. The Chilean Navy, which is tending to the miners’ health, sends the specs. Anatomical, so that debris and dirt won’t get in. And dark. 1oo% UV and UVB ratings. Research scientists at Oakley go back and forth with the Navy a few times until they get the best lenses on the most appropriate frames. They ship 35 customized pairs to the Copiapo mine.

The glasses arrive at the last minute. A Navy doctor sends them down the rescue chute. When they come back up, they are on smiling faces surrounded by more smiling faces, and the rest…is eyewear history.

IMG_0523“The Chileans were very grateful,” says Franklin. “The miners, before they were released, were very grateful.  And it was good for everyone.  I know Oakley has gotten criticized for exploiting the situation, but the CEO of Oakley, who sent me the glasses, had totally forgotten about it.  He was watching the rescue on TV, and the first miner pops up and he’s wearing Oakleys, and the CEO says to his wife, ‘How about that, he’s wearing our glasses!’  And the second miner pops up, and he’s wearing Oakleys, and the CEO said, ‘Oh, yeah, that’s right, we sent them some of our glasses!’  He’d totally forgotten about it.”

Lots to be learned from the Oakley Coda:

If you add something productive to every situation you’re in, outcomes take care of themselves.

Subject matter expertise is a good point of connection.

Minor roles in one scene can become major roles in the next scene.

Don’t persuade, participate. The best way to influence the game is by playing it.

Give gifts to your scene partners. Your expertise can be a gift.

Be sensitive to context. If you join a scene in progress, have a good reason why.

Meaningful connections have a long shelf life. This is relevant to network economies, where meaningful connections can be ‘parked’ indefinitely, until a scene calls for them.

Narrative trumps nationality.

Do the good thing in the moment, and the better thing will happen down the line.

Damn, I can’t think of them all! There’s a lot! Find something for yourself in this story and put it in play. Good things will happen as a result. There is a science to serendipity.

You cannot script a story like this. You cannot bake it into your media plan. You cannot buy it, for any price. No one at Oakley could have caused it to happen. If they had tried to achieve the same outcome on their own, it would have come across as rank exploitation. They would’ve never penetrated the inner circle at Copiapo. Instead, they had a conversation. Way back when, they planted a seed. When conditions were right, that seed grew and blossomed into something beautiful, something money could not buy—an incredible narrative.

If you’d like to soak up more of the Chilean miners’ story, you’ll want to pick up the book Jonathan Franklin is writing. It comes out February, 2011.

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?

Scott Avidon offers $25,000 for a job lead

Tuesday, November 16th, 2010

ScottAvidon1

This came across the Huffington Post yesterday.  I love Scott Avidon’s approach to a job search.  It is generous and ingenious.  It reminds me of our friend Erick Brownstein’s cousin, Alec, who got a job as an art director in NYC by buying the names of all big agency Creative Directors as Google keywords, so that when they Googled their own names, his C.V. was in the top five results.

In his ‘brand narrative,’ Avidon does a good job of communicating on the meta level, and he speaks well on the emotional level, too.  The images he uses on his job search blog are pure meta, not the least of which is the fact that his own image is balanced with the other five.  It suggests a balanced life.  But not TOO balanced.  Avidon, an industrial designer by training, has laid out the page so that the images and the program description near the bottom are justified left while the rest of the content on the page is centered.  It doesn’t matter whether this is Avidon’s conscious design or an accident, it’s brilliant,  because it uses the meta meaning in design to communicate the INCOMPLETENESS of the narrative.  Something’s missing.  Something we, in the audience, naturally want to fill.  We are coded as human beings to strive for completeness, and the incompleteness on Avidon’s page gets us leaning forward, into his narrative, as a result.

As a systems thinker, Avidon has plugged, somehow, into the HuffPost network in order to expand his narrative in a quantum way that is of his doing, but is now, by his design, out of his control.  His work now consists of channeling the chaos that ensues.  This is good narrative science, and conjures up something that cannot be present in a flat resume.  Energy, vitality, generosity, creativity, dimensional thinking.

Compare Avignon’s narrative to a typical job query or resume, which is primarily cosmetic: information, facts, history, data points, objectives. There’s no comparison.

Employers today are looking to invest in personal narratives, in trajectories, and in generative, ‘Yes-And’ thinking.  Companies hire individuals who can make good moves when faced by unforeseen circumstances.  Who share their own success with their team.  Who can be engines of newness and positive change.  That you’re knowledgeable at what you do is just table stakes that can get in the game, maybe.  Whether or not you can change the game in your favor is what really counts

I hear Oblong Industries is hiring.  They need Scott Avidon on their team.

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.

C-Suite to Street

Sunday, October 31st, 2010

With each passing week, we hear more about the application of improvisation to business.  American companies, from core to edge, from the C-suite to the street, are becoming more conscious of the need to be agile in a networked business environment, and that means learning how to improvise better.   These companies (excluding the already-agile Silicon Valley/tech and financial sectors) are coming to the realization that in a networked world, it is impossible to script for every scenario we encounter.  There’s too much too much choice, change and transacting in the marketplace.  In this environment, improvisation is the most fundamental business skill there is.  At GameChangers™, we call it a system for producing positive outcomes from unforeseen circumstances.

The anecdotal evidence–what we’re seeing and experiencing over the past three months:

- A study in the magazine Science co-authored by MIT scientists cites a 30-40% improvement in performance in groups that apply collective intelligence to problem-solving.  This is another perfectly legit definition for what improvisation is:  The conscious application of collective intelligence to the solving of problems.

- A major airline hires GameChangers™ to improve its customer relations for its sales staff.  In 3 months, offices that institute the GameChangers™system show a 90% reduction in customer complaints.

- Oakley yes-ands the 33 Trapped Chilean Miners by giving them all a pair of their grooviest sunglasses to wear when they exit the mine, demonstrating that improvised branding has a huge ROI advantage over traditional media models.

- Legendary improvisation-trained actor Alan Alda establishes a program with science writer KC Cole to teach scientists how to communicate better using improvisation.  Alda’s  program is co-located at the Brookhaven National Laboratory, USC’s Annenberg School of Journalism, and Stony Brook U. in New York.  I’m honored to continue the program in a workshop exploring biomimicry (in which we riff on exercises taught to me by the brilliant Belina Raffy in the U.K.) as part of Social Media Week in L.A..

- The ‘Old Spice Man’ viral video campaign, partly designed by a social media manager who attended several GameChangers® workshops and a copywriter who plays jazz trumpet, boosts Old Spice sales by 1200% in three months.  This suggests that brands must begin to measure ROI not by platform, but by narrative.

- The Applied Improvisation Network holds its annual meeting in Amsterdam in September.  Success stories abound!

- Renowned London-based organizational expert, Peter Robertson, is adapting  the AEM-cubeanalysis tool created by his group, Human Insight Ltd., to include metrics for how well large organizations, and their employees individually, improvise.

- We hear that two divisions of a large global consulting firm, unbeknownst to one another, hire improvisers to conduct workshops for their managers in two different U.S. cities.  The company’s training staff, hearing of this, requests a proposal from one of its vendors for a company-wide program for more than 12,000 employees that is based on improvisation.

- The Spirit of Football®, an improvised narrative that explores the theme, “One Ball, One World,” has already signed its first two sponsors for the 2014 World Cup in Brazil, putting them exactly three years ahead of the pace they were on for this year’s World Cup.

- A Harvard Business Review article on Pixar University and its director, Randy Nelson, cites ‘plussing,’ which is an old term Walt Disney used, as an essential part of its culture.  Plussing is another word for  ‘yes-and,’ a basic concept of improvisation.

This is just a partial tip of one iceberg, the one we see from our little boat at GameChangers™.  There are a lot more icebergs in the ocean than what we can see, and let’s be honest, there are a lot more icebergs in the ocean than there have ever been before.

Consequently, there has never been a better time, no matter what profession you’re in, to be an improviser.  Play on!IcebergField1

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.”