Archive for the ‘Uncategorized’ Category
Tuesday, August 24th, 2010
Adapted from GameChangers–Improvisation for Business in the Networked World, by Mike Bonifer:
Heighten–To build emotional involvement and energy in a scene
Improv–See ‘Improvisation‘
Improvisation–spontaneous communication designed to generate positive outcomes from unforeseen circumstances; interpersonal and group communication that is instinctive and informed by experience, knowledge, serendipity and respect for environment; improv, as performed in theaters, such as with improv comedy; a conversation with the community; the pedagogy, philosophy and process defined by Viola Spolin in her 1963 book, Improvisation for the Theater; a games-based methodology for generating communication, learning and transformation
Initiation–The first meaningful words or lines spoken during a scene; in this case, ‘meaningful’ refers to anything that directly involves the group’s progress toward achieving the scene’s objective(s).
Interrogation–A performance-related issue, often arising in interviews or employee reviews, that arises when one player only asks questions and never acts on the information revealed by the answers;
Invention–A performance-related issue that occurs when players work with speculative or subjective information instead of the reality of the scene.
Invocation–An exercise that lets players examine a subject from the third-person (”It is”), second-person (”You are”) and first-person (”I am”) perspectives in order to identify themes for a performance.
Issue–Any performance-related problem which can be remedied by better execution of GameChangers business communication techniques.
Judging–A performance-related problem that occurs when a player subjectively assesses a scene while the scene is taking place.
Justifying–A performance-related problem that occurs when a player self-consciously explains his or her (or their team’s) actions in a scene, especially when the behavior does not align with the GameChangers principles.
Liminal–relating to the threshold of perception that players break through by participating in a game; relates to perceptions of one’s own abilities and to what one’s perceptions of what is generally possible; transcending the status quo
Meta Communication/Meaning–A symbolic or allegorical representation of ideas and concerns that exist on a societal, cultural or archetypal scale; the symbolic representation of a macro trend, widely held belief, or aspect of the human condition; (See ‘Cosmetic Communication/Meaning‘ and ‘Emotional Communication/Meaning‘)
Monologue–A speech given by a single player in a scene; a speech shared amongst multiple players in the course of a scene or presentation.
Narrative–A flow of thematically-connected events that can be related after the fact as a story; organizational memory and vision of the future that inform scenes performed in the present; a purposeful alignment of ideas and events, such as for a brand.
Negativity–Traits, ideologies and behaviors that halt a scene’s progress through skepticism and a disagreeable inclination to oppose, deny and/or resist the ideas or involvement of other players; pessimism; the antithesis of the attitude required for productive collaborations.
Network–The communications matrix of an organization, brand or individual; those who are connected by a communications matrix or belong to an organization; defined by John Seely Brown, John Hagel et al as consisting of ‘core’ and ‘edge’
Networked World–The highly communicative, internet-supported global stage on which business gets conducted
Objective–The desired outcome of a scene; the stated purpose of playing a game; the business goal of a scene; one of the four elements that comprise a Game
Opening–An ‘overture’ prior to a scene or series of scenes in which a player or a group develops the themes for an upcoming performance; usually triggered by Suggestions From the Audience
Organization–The manifestation of a business or brand to its audience; the operational structure of a business or brand; a company or group with a shared mission and business objectives (see ‘Network‘)
TO BE CONTINUED…
Tags: Definitions, Dictionary, Fundamentals, Glossary, Meaning, Terms, Words
Posted in Branding, Communication, Dialogue, Emotion, Environment, Fundamentals, Initiations, Issues, Narrative, Objectives, Themes, Uncategorized, story | No Comments »
Sunday, June 13th, 2010
In a conversation with John Seely Brown and Erick B this past week at a party in Westwood hosted by the Deloitte Center for the Edge, we talked about creating value at the edges of networks, where the flow of information is fiercest. (The new book, The Power of Pull, co-written by JSB with John Hagel and Lang Davison, explores this subject in depth. My review to follow.)
JSB asked Erick and me how social networks (Erick’s area of expertise) and improvisation (mine) create value.
I asked rhetorically in return, “Why do pictures have frames?”
The conversation continued for a minute or so and then JSB repeated, “Why do pictures have frames? That’s a good subject for an article!”
So here it is, JSB. An improviser’s answer to the question, “Why do pictures have frames?” (Erick B? You got anything? Bring it!)
Frames impose discipline. How many times have we all heard the phrase, “Think outside the box”? Scary many. Over the past ten years, it has succeeded “paradigm shift” as the #1 business cliché. Worse than a cliché, it’s bullshit, because it implies that a good creative process is not subject to restrictions. That it’s totally free. Random and unfettered. A good process, in fact, begins with restrictions.
A sculptor chooses a rock. The rock is a frame. The sculpture is already in the rock, and it’s the artist’s job to coax it out. The rock tells the artist what tools to use. How much time to allocate. How much force to apply to the coaxing process. The nature of the rock suggests where the sculpture will eventually live. The artist can only create within the limitations of the rock, and yet, within those limitations, there is unlimited potential to bring something delightful to life. The artist uses the frame of the rock to test his or her own limitations to make something of value. Our limitations are not in the rocks we choose, but in ourselves.
For improvisers, the game is the frame. The game liberates potential because players know that everything required for a great performance is already in the game, waiting to be discovered. In terms of business, ‘framing games’ put the emphasis where it belongs, on human potential, and not on a particular system or platform.
Frames create focus. The eye knows where to go. The geometry of the frame introduces–to both the artist and the beholder–spatial and temporal relationships. These relationships between the art and its environment, and between elements of design within the frame, give meaning to what’s inside the frame. Likewise, the act of framing helps define relationships within networks; and between a network and the business environment.
Frames provide context. Unless the immense amount of communication coursing through a network is given context, it tends to be read as raw data by platform- and metrics-obsessed managers. Data is not narrative. Data is not theme. Data without a framing game to give it context is meaningless, like water without a container. All it does is evaporate. The molecules are still there, but its usefulness vanishes into thin air.
Frames invite valuation. Let’s face it, business needs numbers. The margins must be there. How much is the time of a employee at the edge, in steady communication with players outside the company’s network, worth? Framing games make valuation possible. (Not easy. Possible.)
In The Power of Pull, JSB, Hagel and Davison describe ‘shaping strategies’ for networked organization, which are analogous to the framing games described above.
If this has whetted your appetite for the subject of ‘why pictures have frames,’ you can deepdive into this conversation between the renowned academics, David Bordwell and Henry Jenkins, part 3 of a series about framing transmedia narratives.
Tags: Center for the Edge, Creativity, Deloitte, Discipline, Erick Brownstein, Frames, Framing Device, Framing Game, Games, Improvisation, Improviser, Innovation, John Seely Brown, Organization, Pictures, Process, Social Media, The Power of Pull
Posted in Communication, Creativity, Environment, Focus, Games, Innovation, Narrative, Relationships, Themes, Uncategorized, story | 1 Comment »
Tuesday, March 23rd, 2010

Narratologists, as the name implies, obsess over narrative. What makes a good story (and a story good)? What are the emotional stakes? What’s the relationship between characters? Between text and subtext? Who are the players? What roles to they play, and do these roles reveal or conceal their true natures? What motivates them? What needs to they seek to fulfill? How does narrative create dialogue between players and audience? These are the questions keeping Narratologists awake at night, and earning their keep during the day.
Platformists obsess over apps. How solid is an app? How does it scale? What languages is it written in (and how many does it speak)? Who uses it and why? What is the feature set? What is the ROI on the investment in an app? What is the social component? How compatible is it with other apps? What’s the relationship between reliability and flexibility? What differentiates it from its competitors? If you can answer these questions for more than five apps, you’re probably a Platformist.
One can collaborate with the other, but one cannot be both. Not at the same time anyway. We all have to choose. To help with your decision-making, here are a few things to consider:
Narratives are designed to make sense of the world by distilling information down to its essence. Most apps and platforms are, by contrast, designed to make information available to as many people as quickly as possible. One is a a micro-brewed beer that evokes new sensations you want to share with friends. The other is beer that evokes images of Clydesdales on television. Take your pick.
Narrative is, by design, more unique, and therefore scarcer and ultimately more valuable than any platform or app. As information gets commoditized across platforms–33.5 billion tweets about brands in 2009 (Forrester), 120 million videos hosted on YouTube with an average of 200,000 more added every day (Yahoo Answers), and 400+ million profiles on Facebook (Business Week)–a use of story as the Ultimate Organizing Principle grows more valuable all the time. Would you rather wrestle with one meaningful narrative, or 33.5 billion mostly meaningless tweets? Call it while it’s in the air.
Narrative consists of raw, unmediated interaction. It happens human to human. Face to face. Platforms, on the other hand, invite mediated experiences. The humans you’re really interacting with are the ones who designed the platform you’re using. Narratologists focus first on the connections and conversations between people. That’s life. A Platformist’s foremost concern is the relationship between people and technology. And while it’s a cleaner, less risky, and more predictable proposition, it’s also not life. The choice is always ours to make.
Maybe what matters most over the long haul is that narratives are a lot more fun. They generate energy and emotion, manifest purpose, offer possibilities. They move people, and liberate them from the humdrum of daily life. Platforms, from the days of Gutenberg’s first printing press, have always been and will always be persnickety, finicky, tricky, sticky. They break down. They spawn frustration and induce headeaches. We find ourselves chained to them. It’s the nature of the beast. Would you rather entertain the possibility of having fun, or guarantee yourself a a certain amount of frustration? Are you a ‘glass-is-half-full-drink-up’ kind of person, or a ‘this-glass-will-automatically-notify-me-via-SMS-when-its-fill-factor-is-above-50%’ kind of person? You cannot be both.
Narratives define what platforms cannot. Narratives lasts longer than platforms. Mean more. Engage more deeply. Evolve more quickly. Earn more money over time.
Choose.
Tags: Dialogue, Flexibility, Narrative, Narratologist, Narratology, Platform, Platformist, Players, Social Media, story, Technology, Ultimate Organizing Principle
Posted in Creativity, Dialogue, Entrepreneurship, Environment, Innovation, Leadership, Narrative, Relationships, Uncategorized | 5 Comments »
Monday, February 15th, 2010
Thanks to our friend, Nilofer Merchant, founder of Rubicon Consulting in San Francisco and author of the insightful new book, The New How, for fanning this New York Times interview with Vineet Nayar, CEO of HCL Technologies. HCL is a 54,000-person IT services company based outside Delhi with 2009 revenues of $2.3 billion.

Vineet Nayar Leads With Modesty
Nayar’s ‘employees first, customer second’ philosophy aligns with a basic concept of improvisation: Take care of yourself first. Mick Napier hits this hard in his book, Improvise: Scene from the Inside Out. If you wait for the other people in your scenes to have an idea, to initiate, you’re making yourself powerless, and you leave your scene partners and the audience hanging. And if the other person in your scene waits on you, you’re lost, and so is the audience. Nayar’s point is the same: HCL can only be as good to their customer/audience as its employees are to one another. These behaviors cannot be separated. You cannot be one way to your scene partners and another to the audience. It is all part of the same space-time continuum. And productive action can only begin with you.
Other quotes by Nayar that are consistent with improvisation, and my notes in italics:
“I did not know where I had to go, and I was projecting as if I knew. I assume that you expect me to know where I am going, and you will respect me for that, and the day I tell you both of us are in the same boat, we would fail. That was a very big learning for me.” Pretending is not illusion if it is a step on the path to being.
“If you see your job not as chief strategy officer and the guy who has all the ideas, but rather the guy who is obsessed with enabling employees to create value, I think you will succeed.” Support, the giving of gifts, is the most powerful tool in the improviser’s repertoire.
“How do I communicate to employees to not look up to me, but to look within, to communicate that I’m one of you, to destroy that hierarchy? So I decided I’m going to go into this big gathering of employees dancing to a very famous Bollywood song. And I can’t dance for nuts, right? I was dancing in the aisles with these employees and making lots of noises. What happened? It completely destroyed the gap.” When you want to communicate something important, use more than information to do it.
“The failures are far in excess of successes.” Failure is not defeat if it is a step on the path to understanding.
“I don’t want people who are coming here and teaching me something or teaching the organization something. I don’t want teachers. I want people who are not only charged up because they like it, but because they will learn from this experience. I’m looking for people who see experience as a continuum and not as an end in and of itself.” Improvisers are not teachers. We are builders of environments in which communication, learning and transformation can happen.
IMPORTANT FOOTNOTE!
When we tried linking to the HCL URL with Mozilla Firefox 5.0, we got this message:

We noted this ‘FAIL’ in the post. Within minutes of publishing the post, an HCL employee, Aruj Kapoor, wrote to say he was sorry they’d been down, that they’d fixed the bug and the site was restored. And not only that, he ‘yes-anded’ by asking what specific information we were seeking when the site went down. Aruj’s awareness of what my experience must’ve been when I hit the dead link–frustration, confusion, puzzlement–led him to offer his support to the scene I’d initiated with HCL. Be sensitive to your environment and it will tell you what you need to know. By yes-anding, Aruj converted a mistake into an opportunity to extend the dialogue between the HCL brand and me. Nice move. Every mistake is an opportunity to do something useful.
Tags: Delhi, Education, Employees First, HCL Technologies, Inverted Pyramid, Leadership, Learning, Mick Napier, Nilofer Merchant, The New How, Vineet Nayar
Posted in Casting, Coaching, Communication, Education, Environment, Gifts, Initiations, Leadership, Uncategorized | 5 Comments »
Thursday, January 21st, 2010
Sports is a recurring subject for GameChangers. How can it not be, with our work so tightly bound to the playing of games? All you have to do is thread back through this blog to see how many times sports and their players produce a ‘learnable moment’ that can be applied to business. Most sports provide a useful model for how structure (e.g. the rules, roles, environment and objectives that constitute the game) liberate performance, creativity and innovation.
Sports is also a recurring theme for the culture and politics of the times. There is a lot of meta meaning bound up in sports. For example…
Jackie Robinson’s is the story of de-segregation, and of breaking through any significant barrier in your chosen profession.
Rudy is the story of anyone who has to overcome long odds to achieve a dream.
Esther Williams‘ and Johnny Weismuller’s stories are about the marriage of sports and entertainment.
The recent film, Invictus, starring Matt Damon and Morgan Freeman, is about a visionary who sees a way to resolve a serious conflict via the playing of a game.
The Invictus theme is more or less mirrors what The Ball is all about: Beginning this Sunday, January 24, three football (soccer for us Yanks) enthusiasts, Christian Wach, Phillip Wake and Andrew Aris, will kick a football from Battersea Park in London, the site where modern soc– er, football began in 1864, to Johannesburg, South Africa, site of this year’s World Cup, the first ever held on the African continent. Their trip will take five months, and will run through 25 countries and 10,000 miles.

GameChangers: On The Ball
The Ball is sponsored by DHL-Africa, Special Olympics-Africa, the Freestyle Football Federation (think of them as the Harlem Globetrotters of football), and Alive and Kicking, which distributes footballs to kids in poor villages around the world. Alive and Kicking is donating 1,000 balls for the guys to distribute on their trip. DHL is handling logistics, including ground transpo, express mail, visa approvals, border crossings and internet and mobile phone connectivity. Africa 10, a documentary produced by Julian Cautherly and Will.I.Am of the Blackeyed Peas, has donated an HD camera and flash memory cards, and is co-hosting The Ball content on its website for the duration of the trip. GameChangers is a patron, too. Our role is to support the The Ball narrative.
At the January 24 kickoff, ‘The Beautiful Game’ will be played with ‘no rules’ (pre-1864 version of mayhem in the streets with a ball); ‘old rules’ (c. 1864 genteel and casual, if it strikes your fancy, smoke a pipe while you play); and ‘modern rules’ (the athletic, free-flowing game of today). Following the kickoff event, Dan Magess of the Freestyle Football Federation will attempt to set a world record for ‘keepy-uppy’, keeping a football in the air without touching it with your hands. Current record is over 23 hours. And with that, The Ball will begin its journey to Jo-burg for the World Cup.
This will be the third and most ambitious World Cup journey for the group, which operates under a non-profit organization, Spirit of Football. Wach and Wake kicked The Ball from London to Seoul in 2002 and London to Munich in 2006. This is Aris’ first year with the group.
The meta story of The Ball is how a simple idea can sweep aside our differences, and lead the way toward a shared sense of purpose, and the pitch on which all can play.
Kick away, lads, kick away!
Tags: ABRO, Africa 10, Andrew Aris, Christian Wach, DHL, Esther Williams, Football, Games, Invictus, Jackie Robinson, Johnny Weismuller, Julian Cautherly, Matt Damon, Morgan Freeman, Phil Wake, Rudy, Soccer, Special Olympics, Spirit of Football, Sports, The Ball, Will.I.Am
Posted in Branding, Creativity, Education, Entrances, Environment, Games, Initiations, Narrative, Networked World, Themes, Uncategorized | No Comments »
Thursday, December 17th, 2009
Lyrics for The Spirit of Football theme song, written by an English songwriter living in Erfurt, Germany, who wants to remain anonymous (how’s that for a change?), who has donated the song to the SOF project.

FANS WILL BE FRIENDS
The ball is in motion …
The ball has been set free …
This ball crosses borders …
Suddenly we feel …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Borders can be broken …
With words never spoken …
The ball is the ball, my friend …
The language everybody speaks …
Fans will be friends, my friends …
Playing football in the streets …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A child reaches forth …
Another child calls …
Dusty streets, the sound of running feet,
Suddenly applause …
Cobbled roads and stones as posts …
In different towns, on different coasts
A grinning face …
A lively joke …
These little things they give us hope …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Borders can be broken …
With words never spoken …
The ball is the ball, my friend …
The language everybody speaks …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hands across the ocean …
Hands across the sea …
Hands greeting hands, my friends …
Singing songs is free …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Out of reach of sun’s morning rays …
In narrow winding alleyways …
On an old stone wall …
A chalk goal is drawn …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Borders can be broken …
With words never spoken …
The ball is the ball, my friend …
The language everybody speaks …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A spinning ball …
A child slips and falls …
… a dive, a save …
And almost scores …
A flick, a kick …
A simple trick …
A shot, a save …
The game’s the same …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Borders can be broken …
With words never spoken …
The ball is the ball, my friend …
The language everybody speaks …
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Anonymous, November 2009, Erfurt, Deutschland.
The song will be recorded in a studio in January by professional musicians (word is that it’ll be with a Ska/Reggae melody), and will be taught to and sung by schoolchildren along The Ball’s route to Johannesburg. The lyrics may get sung in different languages, but the game, the ball and music itself speak a universal language.
In the Networked World, it will be helpful for brands to find their ‘musical voice,’ and not just in a commercial jingle or a melodic slogan, but with a library of music that can stand on its own artistic merit and at the same time is in some way analogous to the brand.
Data alone cannot define structure or create meaning in the networked environment. It takes art to do it. Consequently, opportunities for musicians and artists of all stripes to align themselves with brands consistent with their art will be exponential. And the opportunities for socially-conscious entrepreneurs to define themselves as artists will be equally abundant.
Tags: Art, Branding, Content, English, Erfurt, Fans Will Be Friends, Games, Germany, Lyrics, Music, Narrative, Song, Spirit of Football, Theme
Posted in Communication, Education, Games, Gifts, Narrative, Themes, Uncategorized | No Comments »
Sunday, November 29th, 2009
I attend a session on Improvisation and Biomimicry conducted by Belina Raffy from the U.K. As if there’s any doubt that improvisation is the most natural thing in the world, consider these points from one of Belina’s slides:
1) Nature creates freedom within structure;
2) Nature recycles everything;
3) Nature rewards cooperation;
4) Nature demands local expertise;
5) Nature curbs excesses from within.
Yet how many organizations and brands attempt to circumvent biology? The new organizational model, as we point out at GameChangers, is more biological than mechanical. Only by embracing what is natural and biological can a networked organization stay in sync and in tune with its environment. Humans, are, after all, biological organisms, and participants in the Ecosystem, Gaia, God’s Plan, The Grand Experiment, or whatever you want to call it. It is our obligation to play along. Thank you Belina!
Tags: Behavior, Bellina Raffey, Biomimicry, Cooperation, Excess, Fundamentals, Improvisation, Issues, Nature, Organizational Model, Rules
Posted in Education, Environment, Fundamentals, Issues, Networked World, Themes, Uncategorized | No Comments »
Thursday, November 19th, 2009
Part of a series about the Applied Improvisation Network’s world conference, Portland, Nov 11-16, 2009:

OYF Panel Discussion with Intel's Zabel (second from r.), Nike's Dodge (third from r.) and the State of Oregon's Gardner (second from l.)
I am blown away by the work being done by Julie Huffaker, Gary Hirsch, Brad Robertson and OnYourFeet, with clients like Nike, Intel and the State of Oregon. The scope of their engagements, the value they create, and their ability to collaborate with their clients and speak the client lexicon is easy to see.
Karl Zabel (who today works with Nike but was a product manager at Intel at the time) hired OYF to train presenters for an Intel conference in Vegas in which lead engineers present new products to audiences of their peers. The program paid off with positive results for Zabel and his product team. Scores the audience gave presenters who’d had improvisation training left those who didn’t in the ditch. (my word for the outcome; he had Intelspeak for it…4.2 to 4.7 positive variance, e.g.)
One presenter, says Zabel, got up in front of the audience and impulsively tossed his entire PowerPoint presentation aside at the last second in favor of improvising his pitch. An audience numbed by days of PowerPoints loved the move, and this was reflected in scores that were well above the conference norm.
Interestingly, Zabel changed the game to help OYF’s work reflect its real value. Previously, scores for these presentations had been an aggregate number. They included a score for the catering, a score for the air conditioning, a score for the quality of the audio and projection…and oh yeah, a score for the actual presentation, let’s throw that into the mix, too, why not? Zabel convinced the scorekeepers to separate the presentation scores, which meant that weak presenters couldn’t compensate with good sushi. Improvisation for business offers objective criteria for performance, kudos to Karl for seeing it, and clearing the way for Intel to see it, too.
Shelly Dodge, head of Gobal Learning and Development for Nike, says that value creation for her training programs is “largely anecdotal.” This is an brand that knows itself and trusts its instincts. Dodge says OYF’s training helps bridge cultures within the company, particularly with many of its Asian employees, for whom improvisation can be a means to communicate more openly and get more in tune with the ‘just do it’ vibe of the brand. (Note to all orgs that want to be like Nike: Cross cultural communication is yet another area in which improvisation can bring immense value to a brand.)
Lucy Gardner, head of employee training for the State of Oregon, says that given all the layoffs and cutbacks the state government has experienced of late, OYF’s work gives people a much-needed time when they can laugh about something, and also keeps them engaged and thinking positive when there’s a lot of negative news in the network. Cheers to Lucy for understanding the good ROI the state gets on its investment in improvisation.
Any story that begins, “For the price of one television commercial…” has the potential to become a success story for improvisation in business.

Exercise in the OYF Workshop
Tags: Acronym, Communication, Humor, III, Intel, Invest In Improvisation, Karl Zabel, Las Vegas, Lucy Gardner, Nike, OnYourFeet, OYF, Portland, Presentations, Shelly Dodge, State of Oregon, Vegas
Posted in Branding, Coaching, Communication, Education, Sales, Uncategorized | No Comments »
Thursday, October 8th, 2009
The energy generated by the Creativity in Business Conference in Washington D.C. on Oct. 4 was, and continues to be, exhilarating. The conference was populated by people who are inquisitive, open to learning, and restless about solving problems of all kinds. It almost doesn’t matter what the problem is, if there’s a problem, these folks are interested in contributing to its solution.
I got to the location of the conference, Boston University’s Center for Digital Imaging Arts in Georgetown, at about 10:30 Sunday morning, in time to sit in on the last third of Paul Scheele’s session. When I got there, five participants were on stage wearing masks and funny hats and were juxtaposed with one another in interesting ways. I had fun playing catch-up, and trying to figure out what the scene was about. (It was about tapping into the unconscious mind for creative inspiration–and how to hold onto that, both individually and organizationally.)
I attended Dr. Win Wenger’s session on creative problem solving. He gave us a problem-solving exercise my friend Rasul Sha’ir and I did together. What the exercise revealed to Rasul and me is that there is a transition that takes place in your process if you ‘peel open’ a problem via relentless answering of a simple question like “How can I build strategic partnerships for my brand? ” In Dr. Wenger’s exercise, we spent 11 minutes answering the same question non-stop. It works! Rasul and I both experienced a transition in the way we were answering our questions. Our answers went from obvious and surfacey to unexpected and insightful. This occurred, for both of us, between 6 and 7 minutes into the exercise. We went from addressing what was outside of us, what we had little control over, for example the root causes of the problem, to answers that were more about what was within us, what we personally could do to help solve the problem. The problem is without. The solution is within.
Before the plenary session I visited briefly with Dr. Wenger. His name tag said “Win Win Win”. It was like getting to sit down with one of Disney’s Nine Old Men of animation, because the dude is a classic. He is so insightful, and has such a strong desire to be of service by helping people solve problems, particularly in the realm of sustainability, it was palpable, and I hope some of it rubbed off on me.
The event’s organizer, Michelle James of the Center for Creative Emergence, and I co-hosted the plenary session, which was attended by a majority of the 150 people at the Conference. I talked a lot. Maybe I shouldn’t have, but I was feeling it, and I expressed some things pretty well, I think. I reminded the audience that for many people in business, creativity is the enemy. I spoke about what we can do to help make creativity more accessible to individuals and teams who spend most of their time in their left brains. For one thing, we can point out how a creative move can always be a very short step from the status quo. It does not have to be a quantum leap or a masterstroke or a gamechanger.

Those attributes can only be ascribed after the fact, anyway. Creativity does not have to be outside any box. It does not have to go barefoot or bring its dog to work or inhabit a workstation lined with toy robots . Creativity is always present and accessible, and always right next to our self-conscious selves. As musicians say, there’s always a good note right next to a bad one.
I attended Michael Margolis’ session on authentic storytelling. This is a subject of which I never tire, and it is inspiring to be in a workshop with someone like Michael, who brings a sense of excitement and discovery to the subject. In one of the exercises, Frank Gruber and Jen Consalvo, who have a start-up called ThankfulFor, and I brainstormed ideas for their brand narrative. Not only did we come up with some fresh takes, Jen and I discovered we have a mutual friend in Jim Crosby. I texted Mr. Jim to that effect, and have since heard that he and Jen reconnected after a couple years of not being in touch. I’m ThankfulFor that.
Then came the GameChangers Workshop. Here’s what one of the attendees, Jennifer Lee, founder of Artizen Coaching in San Francisco, said about it:
Mike gave some great examples of companies who use improvisation principles to enhance their business success and facilitated exercises to help us embody the learning:
* Companies tend to focus on the successful outcome. They try to re-create the next innovative product/outcome but fail because they really should’ve tried to institutionalize the successful process. The game is the process.
* Mike defines games as engines for exploring the theme of your narrative. They help create focus and discipline and they energize and invite team members to perform. Good games attract the good players.
* He had us play with the improvisation principles directly by inviting us to co-create a message around a random thing. It was amazing to see what our group came up with to market cookware. It was even more fun to get up in front of the room and “perform” it!
* Improvisation asks us to be very present with each other and to look for what we can build on. What a great way to leverage creativity in the workplace.
Thanks, Jenn, thanks Michelle and everyone at the Conference. Even if we didn’t get a chance to meet personally, we are now only a degree away.
Tags: Center for Digital Imaging Arts, Creativity, Creativity in Business Conference, Frank Gruber, GameChangers, Georgetown, Jen Consalvo, Jennifer Lee, Jim Crosby, Michael Margolis, Michelle James, Paul Scheele, Problem Solving, Rasul Sha'ir, Storytelling, ThankfulFor, Win Wenger
Posted in Coaching, Creativity, Education, Entrepreneurship, Games, Issues, Narrative, Uncategorized | 3 Comments »
Monday, August 17th, 2009
In 2006, newspapers took in $49.5 billion in advertising. In 2008, it was about $38 billion, a 23% decline.
After losing 42% of their value between 2005 and the end of 2007, publicly traded newspaper stocks lost 83% of their remaining value during 2008.
Most surveys show that 13,000+ U.S. newspaper jobs vanished in 2008.
In 2007, 70% of college Communication and Journalism majors had jobs six months after graduation. In 2008, 60% did.
No doubt about it, the print journalism profession as we’ve known it is fading fast, and its future is as hazy as the crystal ball of a boardwalk fortune teller.
So why put stock in university students who, in these uncertain times, choose to major in Journalism?—as opposed to, say, the point of view expressed in Sarah Lacy’s smug, self-congratulatory April 09 TechCrunch story that disses journalism schools and anyone majoring in journalism these days.
Here’s why we ought to be bullish on Journalism majors:
1. They’re optimists. Feeling good about the future is the first step toward making it so.
2. They’re self-reliant. They realize there’s no ready-made career track waiting for them at the end of the diploma. Their career will be one they carve out for themselves.
3. They’re creative. They’re putting themselves in a position where they have no choice but to be creative. Some of the most creative people I know have used this strategy throughout their careers to grow and prosper.
4. They’re following their fear. Garrison Keillor, the writer and radio host, once told me that he built his career by “doing the thing that scared him most.” Majoring in Journalism is a bold move in the face of a fearsome job market. On the other side of your fear is potential you cannot discover until you do the thing that scares you.
5. They’re entrepreneurial. An entrepreneur sees opportunity where others do not. Something in these Journalism majors relishes the wave of negative news coming from the marketplace, because it means they can position themselves at the bottom of the market to ride it up.
Educators at the University level, many of them celebrated veterans of old school journalism, share their students’ appetite for the unknown:
Kevin Klose, Dean of the University of Maryland Journalism School, admits he doesn’t know where people will get their news in coming years. “It’s like the early days of radio,” he says. “There was a tremendous amount of feverish invention, trial and error that went on in the 1920s and 1930s. The outlets or platforms are unclear now — they’re being invented.”
Klose describes himself as a “participant in an ongoing experiment” to find formats for independent journalism.
Geneva Overholser, a Pulitizer Prize-winning editor and journalist, who today is director of the School of Journalism at USC, says, “We seem to feel the only way we can work is to work the way we’ve always done it. That’s just not true. We will ride these yearnings for the past right down the tube.” She sees her work as an exploration that will lead to “a reinvention of journalism that is richer and better than the old.”
Raymond Roker, founder and publisher of URB, a print and online publication dedicated to hip-hop and urban culture, believes that the calling of journalism is the one constant in a changing business environment. “The allure,” he tweeted in a 137-character response to my question, “is wht it’s always bn–regardless of the dramatic changes in the economy of media–to develop, explore & lead the conversation.”
Roker tweet #2: “The quality of our journalism, in whatever form it takes in a post-print world, will remain a barometer of how informed we are as a society.”
Any brand would be wise to include journalism majors in its conversations about What’s Next and Whom to Hire. There are lot of reasons why these students, in particular, will be productive players in the changing game.
Tags: Careers, Change, Communication, Entrepreneurship, Geneva Olberhoser, Journalism, Journalism School, Kevin Klose, University of Maryland, University of Pennsylvania, USC
Posted in Communication, Education, Entrepreneurship, Leadership, Uncategorized | No Comments »