Posts Tagged ‘Emotion’

Gameless

Monday, November 21st, 2011
Katehi

Katehi

The old games are exactly that. Old. And like anything old, they lack sap, spine, vigor. In many ways, the Occupy Wall Street movement calls this out. Saturday’s Silent Protest against the UC Davis Chancellor, Linda Katehi, is one of the best ways yet of #OWS demonstrating the impotency of old games.

Here’s the scene breakdown:

A day after the notorious on-campus pepper-spraying incident, the UC Davis protesters have the idea of  creating dialogue with Katehi, by forming a stage between the Administration Building and her car. (Note that no one is out front taking credit for this idea, it doesn’t belong to anyone. Ownable ideas are typical of an old game; shareable ideas are typical of a new game.) The stage is a hundred yards long, a catwalk extending the length of the theater, lined by hundreds of students sitting on the ground in order to effectively elevate the stage.

In forming this stage, the protesters change roles, from ‘Quad Occupiers’ to ‘Silent Audience.’ It doesn’t take them much time to do this. There’s no ’spin’ of a story being told or sold, no research to back it up, no ‘official position,’ only a simple intuitive agreement to keep their mouths shut for the duration of the scene. Game on. ‘Silent Protest’ is the name you can give the game. The reality of the scene emerges from the focus on this game, this agreement. It is the absence of protest that will make the protest so dramatic.

After 3 hours of what must have been a lot of hemming, hawing and phone-calling by her team about ‘how to handle it,’ the scene finally begins when the Chancellor enters, accompanied by a couple of non-speaking ‘extras.’ She is lit dramatically by the glow of cameras—-eyes of the world—-tracking her across the stage. Her delaying has made this a nighttime scene, which is even more dramatic, the darkness creating a heavier silence. By taking the stage without a script, i.e. nothing in her head, Katehi is exposed as someone with nothing in her heart. She’s got nothing. Because —-

The script won’t be ready until tomorrow!

The silence of the audience is remarkable.  Its discipline is impressive. No one breaks. The silence is marred by a few unable-to-resist journos whose subdued questions as the Chancellor nears her car only underline the otherwise-completeness of the silence.

Here is what gets revealed by the scene: The Chancellor cannot speak for herself. Her heart is closed, her emotions as frozen as the mask of solicitude frozen on her face. She is afraid of saying the wrong thing. Her institution’s students intimidate her. There is no dialogue between player and audience, between administration and student, between authority and autonomy. No dialogue. Just an old game, getting called out for what it is. Empty.

The protesters didn’t have to say a thing. All they had to do was create an environment in which the old game of ’script and control’ would be displayed in all its inadequacy for the world to see.

Letter from an Angry Mother

Wednesday, April 13th, 2011

Dear Children,

I know you are busy with your lives and your careers and such, and you know I’m not one to meddle or nag.  Live and let live, that’s my motto.  But as your Mother I’ve got to tell you that your behavior lately has been hurtful to me, and to the rest of our family. You seem to have forgotten that I am a living, breathing being, with real feelings. And right now my feelings are hurt. Badly.

I held you in my arms.  Fed you.  Gave you a nice home. Helped you grow into the people you are today. I guess I have failed, because the people you are today have wounded me.  I want to scream.  Sometimes I do scream.  Of course you don’t hear me, you only hear what’s coming out of your own mouths. How about listening for a change?

I made it possible for you to get an education, so you can do whatever it is you do for a living (I still don’t understand it!???) and yet you take me for granted.  Like I am nothing to you.  This is the treatment I deserve?  This is your response to a lifetime of love?

I do not ask for your thanks.  A Mother’s job is a thankless one.  I accept that.  Spare me the holidays.  Show me some appreciation, that’s all.  I will not be ignored! I will not go gently into the night!!!

How about I cut off your inheritance? You have no idea how close I am to doing it.  You’ve already blown through most of what I intended to leave you, anyway.  Take, take, take, and never give back, that’s you.

If you’re not going to show me respect, I promise you I’ll start taking back what’s rightfully mine.  How did you like it when I took back that piece of Japan last month? That hurt, didn’t it?  You felt that, didn’t you?  It is just the beginning of where this thing is headed unless you get your act together.

At one time, the family owned a million or more varieties of apples, did you know that?  What are we down to now?  Six?  Seven?  It took me ages to save up my precious minerals collection.  You walked off with it, and you’re not bringing it back, you think I don’t notice? It took me 10 million years to build the family oil business, and you’re going to blow through it in a couple of measly centuries?  Some nerve.  Frack me?  No, frack you!!!

The Dodo was my favorite tsotchke , you probably didn’t know that, did you?  Of course you didn’t, because it’s always all about you.  I loved that animal, it made me laugh every time I looked at it, and then you broke it.  I miss my Dodo.  It was one of a kind.  It cannot be replaced.  Too late for an apology.  Don’t even try.  I’m not forgiving you for that one.

Mustard gas?  That any children of mine would make such a thing is one of my greatest heartaches.  Agent Orange?  First of all, I resent like hell that you named it after one of my favorite fruits.  Second, I still have a rash in Southeast Asia, one of the most beautiful parts of my body (one of the few I have left) because of it.  Asbestos?  Awful stuff.  Zylon B? If only it were the bad science fiction it sounds like, instead of the awful reality it was. Still gives me nightmares. And then to top it all off, you take innocent little hydrogen, and turn him into a weapon?!! Honest to Gaia, where do you learn such things?  Who are your friends?

Chernobyl?  Nuclear reactors and vodka? That was a bright idea. First, you poison me with  radiation, then you invite tourists to see the results?  Why?  So you and your kids can laugh at the featherless geese?  Have the geese not been humiliated enough?  (Yes, they have!)

Is anyone ever going to take responsibility for the mess you made in Bophal? Someone did it, and someone is going to clean it up, and we are going to wait right here until that happens, I don’t care how long it takes. And if one of you doesn’t own up to it, all of you will.

How is that cancer thing working out for you? Nobody had cancer before you brought it home, we didn’t even know what the stuff was. Now we can’t get rid of it. What’s the matter with the genes I gave you?  Nothing is ever good enough for you, is it? You’re weaving a tangled web, that’s all I can say. What are those hard red things you call tomatoes, anyway?  The corn was just fine until you came along. What is so bad about four teats on a cow? Why must you try to make six? Stop meddling with my DNA! It’s my responsibility. Keep your noses out of it!

PlanetEarth2Another thing—my air conditioner isn’t working. Why? Because I have you for children, that’s why. You broke it with your incessant smoking, and I don’t see you offering to fix it. Fine! Tell the police they’ll find my body in the kitchen, propped against the open refrigerator, where I went to get one last breath before my lungs turned to ash.

My water!  What has happened to my beautiful water? I turn my back for a minute, and you’ve dumped so much of your crap into it that all I hear is complaints from the other family members. The dolphins and whales won’t shut up about it. The salmon don’t spawn like they used to.  The octopi are pissed.  I’m not even going to go into what the plants have to say. I’ll say it for them. Thanks for nothing!!!

Have you no idea how much pain I am in?  I’m sick.  Last year I had a leak in my gulf that didn’t let up for months, and my turtles and birds are still hurting.  I get the cold sweats.  I cry for no apparent reason, until I can’t cry any more. The doctors don’t know what’s causing the vomiting, which I do with awful regularity.  My nausea is the only constant of my existence.

You have hollowed me out.  Drained me.  The only feelings I have toward you are angry ones.  Maybe venting like this is what it will take to get your attention, or make me feel better anyway.

Don’t make me lose my temper!  The last time I lost my temper, I killed the dinosaurs, you know.  That was me.  Boom!  Just like that. Gone in a heartbeat. It was an accident.  The Creator slugged me and I slugged back, and the poor dinosaurs got in the way.  I am not a cruel woman, as you often claim (don’t tell me you don’t, I’ve read your diaries!!!)  Anger can be a cruel thing, though, the reason being you never know who’s going to get hurt by it. The dinosaurs happened to get caught in the middle of a quarrel between me and the Creator and that was that.  You do not want a repeat of that scene, I promise you.  Or maybe you do.  Maybe we’re going to find out.  That’s how angry I am.  Your behavior is a slap in my face, and don’t think I won’t slap back. I will. Promise.

You’re the only species that has made a practice of killing your own kind, did you know that?  The rest of the family are disgusted by this. To make matters worse, you glorify it in your games and your stories like it’s a good thing.  I hang my head. When I think that children of mine are doing this, I want to die. I do.

You cannot leave your spent rods and your empty drums and your plastic gyres lying around the house like it’s the morning after a frat party and not expect to suffer the consequences!

You cannot not pump me full of your potions like I’m some daft heiress you’re poisoning for her dowry and expect to get away with it!

You cannot not take what is mine and pretend it is yours without waking up someday to the reality that you are a generation of thieves!

Here’s an idea for you.  Leave!  Move out of the house!  If this is the way you’re going to treat me, take your smokestacks off the roof and your jet skis out of the driveway and get out!  The rest of us can use the room. The coyotes would be happy to have your bedroom.  Do you think the trees care whether or not we have cable?  Probably not.

You are my Children, and this should not have to be our relationship. Truly, though, I am at my wits end, at a loss for what to do about the horrible way you are treating me.

Please do better.  There’s still time to heal these wounds, but not a lot.

Love,

Your Mother

Los Mineros, Part Seven: “And…Scene!”

Thursday, October 14th, 2010

The ‘Los Mineros’ scene ended in Chile this week with a worldwide swelling of joy at the safe rescue of all 33 trapped miners.  They survived for a total of 68 days 2,300 feet under the earth’s surface, the longest anyone is known to have been trapped underground and lived to tell about it.ChileanMinerRescue1

We have been analyzing the scene here since shortly after the miners were discovered alive.  One of the most instructive aspects of the ‘Los Mineros’ scene is that it has very little spin.  The cave where they were trapped was truly a no-spin zone.  Events were not manipulated or interpreted to someone’s economic or political advantage.   There were no conspiracy theories.  No, this was as unadulterated as a media narrative can be.

During their 68 days in the darkness, the miners had time to ponder their lives in ‘the normal world,’ as Joseph Campbell would call it.  Many, if not all, seem to have been enlightened by the experience, emerging with a newfound clarity about themselves and the world they are re-entering.  “I have been with God and I have been with the devil.  I seized the hand of God,” said one, Mario Sepulveda.

“I have changed.  I am a different man,” said another, Mario Gomez.

Here is a post-by-post summary of the GameChangers series about  the ‘Los Mineros’ scene:

PART ONE:  THE TRAPPED CHILEAN MINER GAME (August 26)

Lesson: Don’t be defined by your circumstances.  Be defined by how you behave in those circumstances.

PART TWO:  LEVELS OF MEANING (August 31)

Lesson: Narratives communicate on three levels of meaning:  Cosmetic, Emotional and Meta.

PART THREE:  YONNI’S WAITING PARTY (September 2)

Lesson: Rules of the game must be known to all players.

PART FOUR:  ESPERANZA! (September 17)

Lesson: Additions can heighten a scene emotionally.

PART FIVE:  SUPPORT FROM THE WINGS (September 28)

Lesson: Additions are generative.

PART SIX:  ACT THREE BEGINS (October 10)

Lesson: End energetically.

Los Mineros Part Six: Act Three Begins

Sunday, October 10th, 2010

ONE IN A SERIES…LosMineros1C

One of the ways GameChangers defines a ‘Scene’—no matter what its duration, could be minutes, could be months—is with a classic three-act structure.  We label these acts Connect, Adapt and Deliver.  Continuing with our analysis of ‘Los Mineros,‘ the Trapped Chilean Miners scene, we can clearly see that the scene is entering its third act. The drill boring through the 2,300 feet of solid rock to the hollow where they are trapped has just made it through to them. That’s a clear signal for the heightening of energy and emotion, increasing tempo and sharpening focus that typically indicate the beginning of Act Three of any scene.

Here’s how the three-act structure has defined Los Mineros to date.

Act One:  Connect.  This is where we first heard about this story.  We were introduced to the main characters.  The conditions of their life-threatening predicament were explained to us.  With the news that it was going to take a long time to reach them, a kind of ticking clock was set in motion.  The clock was not life-or-death, but it helped us frame the scene in our minds.  The ‘Game’ —defined by Objective, Environment, Roles and Rules—came into focus.   A lot of the meaning associated with this act was cosmetic—that is, strongly oriented toward data, raw information, clinical analysis.  A mythic theme, one you might call, ‘Trapped in a Cave,’ got defined.   All of this earned the audience’s attention on a global scale.  Clearly, this was going to be a story that many, may people could relate to.

Act Two:  Adapt.  In this act, complications were introduced to the scene, and communication began to turn toward the Emotional level of meaning, as emotions like Urgency, Fear, Jealousy, Camaraderie, Patience, Frustration and Surprise colored the events during this stage.  We began to learn more about the main characters, and new characterss–wives, mistresses, politicians, drillers, NASA scientists and a newborn baby—entered the scene to interact with the main characters and make the scene deeper, richer, more complex.   This is where the scene often takes unexpected turns, hence the need for the characters to adapt.  Three drill bits were tried before one worked.  Original plans were discarded in favor of new ones.  A miner’s wife and mistress both showed up at the rescue site on the same day.  The newborn baby’s name got changed from what its parents originally intended—to Esperanza, the Spanish word for ‘hope.’   In other words, everyone involved rolled with the ever-unfolding reality.  They had to improvise.  There was no script for this.

And now…

Act Three:  Deliver. Typically, the third act is shorter than the first two.  This has the effect of compressing time, as does the increasing tempo of entrances and exits, and the steady release ‘new news’ by the world’s media.  We are building toward a 24-hour news cycle in a couple of days in which Los Mineros will dominate current events. It is during this cycle that the scene will reach its emotional apex, and the audience will feel more pull and lean forward more than it has at any other time in the scene.  There will be a lot of postscripts added after this climactic 24-hour cycle, but in terms of the three-act structure, this scene will have ended, and new scenes (you can think of them as ’sequel’ or ’spin-off’ scenes) will begin.

For business communicators, the three-act structure is a really useful framework.  It gives players and audience alike a sense of where you are in your scene, and helps you organize the many narrative elements that are part of it.   It will give you the ability to put the emphasis where it belongs, when it belongs there.

Los Mineros Part Four: Esperanza!

Friday, September 17th, 2010

This just in:

Elizabeth Segovia, the wife of Ariel Ticona, one of Los Minerinos, the 33 miners trapped 2,300 feet underground in a copper mine in Chile, has according to CNN.com, given birth to a baby girl.  The family has named her Esperanza Elizabeth.  ‘Esperanza’ is Spanish for ‘hope.’

Esperanza1This is an example of what is known in improvisation as an ‘addition.’   The effect of an addition to the scene is often to heighten the stakes emotionally.  The birth of a Esperanza is certainly an example of emotional heightening.

Note the difference between the authentic emotional heightening that comes with a baby’s birth  vs. the bogus heightening a lot of news outlets produce, where emotions are amplified artificially through a heavy-duty media ‘lens’ consisting of satellite trucks, reporters, news vans, helicopters, camera crews camping across the street, etc.  Sometimes, the emotions depicted by journalists are pure fabrication, as when a media manipulator like Andrew Breitbart ginned up a racist history for a woman who was in fact quite a model of tolerance.

In the Networked World, media-jacked emotions, hoaxes, and fear-based narratives come at us in furious flurries.  At the same time, our communication channels are flooded with paid media, which, like the bogus narratives, often have very little relation to reality.  And hackers are more clever than ever about luring people into giving up their account information with phony stories.  That fictitious Nigerian Prince of spam email fame has, in the hands of evil narratologists, become one of your Facebook friends who’s “stuck in London without cash or a passport.”  The sheer volume of this nonsensical content makes it imperative for communications professionals–and aren’t we all?– to quickly distinguish between what is real and what is not–and act on what is real.  Otherwise you’ll waste too much time, and miss too much opportunity, chasing chimeras.

The birth of a baby?  That’s as real and honest as it gets.  Congratulations to Elizabeth and Ariel on the addition of Esperanza, and the hope for new life that has themed this beautiful scene from its beginning.

Los Mineros Part Three: Yonni’s Waiting Party

Thursday, September 2nd, 2010

A serial analysis of the quest to rescue 33 miners trapped 2,300 feet underground in a copper mine outside Copiapo, Chile…

LosMinerosGroup1

Predictably, the ‘Los Mineros’ scene heightened emotionally yesterday, and in a dramatic way.  Near the mine entrance, two women spotted each other praying for the safety of the same miner, Yonni Barrios.  One of them is his wife.  The other is his mistress.  Now 32 of the miners are looking forward to getting rescued, one maybe not so much.

Yonni looks a little like Javier Bardem.

Yonni Barrios

Applied Improvisation, Part Five: Touching the Heart

Tuesday, November 24th, 2009

Nick Owen is one of those people you feel as if you know even though you know you’ve never met him before.  I think it’s because he’s in touch with his environment, and this allows him to make immediate connections with people who share that environment.  The honesty with which he speaks and his desire to do some good in the world are palpable.  Visible.

His keynote presentation, “Touching the Heart,” is seemingly so in tune with its environment that whenever a phone rings or a plane flies overhead, it is with perfect timing.  With the addition of these ‘rimshots’ ordinary statements become punch lines, a lesson for sure in how humor works.  Timing is………………everything.  Nick:  “Understand what causes the arrow to find its mark.”  (Pause)  Phone RINGS.   Audience LAUGHS.

Nick draws on philosophy, world culture, storytelling and improvisation to describe the expressions of the heart that connect us.

Nick Owens

Nick Owen

He tells a story about a girl riding a camel through a desert who resolves a dispute amongst three brothers fighting over their inheritance–which consists of camels.  He tells another story about a legendary Chinese archer and an old monk. I am a sucker for archery stories.  Shoot an arrow into the air, and I will definitely stick around to see where it lands. The ‘ka-’ always demands a ‘-thunk!’

As part of his address, Nick conducts a couple of exercises.  One of them builds a five-line story about who we are.  What may, to a non-improviser seem narcissistic or self-interested, we regard as essential to the scene.  First be certain of what brought you here, and what you’re here for, and where you’re headed.  Take care of yourself first, and you are free to take care of your scene partners.

In small groups, we read these stories to one another, these five-line reminders of how we define ourselves in the world. The stories are poetic and moving.  We dry a tear off Caitlin McClure’s cheek. The tear speaks for all of us.

GameChanger of the Month – July 2009

Monday, August 3rd, 2009

Most of us look at the wallpaper business and see a lot of decay and dismay.  Local mom-and-pop wallpaper stores across the U.S. are getting eaten alive by Home Depot.  On top of that, the internet has given buyers the ability to sample the product at their local retailers, then shop for lower prices online, a cycle which inevitably drives the locals out of business.  If you’re in the wallcovering trade, the past 15 years have not been kind.

Tanya Flemister, a photographer based in Los Angeles, looked at this same scenario and saw beauty in the form of a business opportunity.  Those untold thousands of old wallpaper sample books getting tossed into the trash are filled with richly-textured designs that might be out of date as wallcoverings, but have the potential to become brand new in a different context.   Wallpaper sample books became the inspiration and provided the content for Flemister’s fledgling company, Off The Wall Greeting Cards. (more…)

Sing Everything

Thursday, July 9th, 2009

DaveCarroll1This story broke in the L.A. Times a couple of days ago and has been burning up the interwebs ever since.  Dave Carroll of the Canadian country music band Sons of Maxwell sings about a problem he has with United Airlines.  It’s easy to see how productive this game is for Carroll and the Sons of Maxwell, and how damaging it is to United Airlines, a brand that already has a pretty shabby reputation for dealing with passengers.  It is after all, the best customer complaint of the Networked Era.

There are three elements of gamechanging at work in Carroll’s United Breaks Guitars song (with two other ‘complaint songs’ to follow, according to Carroll): (more…)

GameChanger of the Month – April 2009

Wednesday, May 6th, 2009

Lifton1Jimmy Lifton, a musician/entrepreneur/producer/writer/director who, with his wife, Paulette Victor Lifton, founded Oracle Post, a well-regarded post-production company in Los Angeles, has been named April 2009’s GameChanger of the Month because of a move he made public on April 14, with the announcement that he’s going to build Unity Studios a new 104-acre film and TV production facility in Michigan.

Lifton deserves accolades for this move because it expresses the ‘Three E’s’ of Gamechanging–Emotion, Environment and Education–and also because until we put a lens on the Unity Studios scene, there was no such thing as a ‘Three E’s of GameChanging.’ So thank you, Jimmy, for that.

Here, minty fresh, are the Three E’s, as expressed by Jimmy Lifton: (more…)