Posts Tagged ‘Improvisation’

JetBlue Scene

Monday, August 30th, 2010

Jeremy Redleaf, one of the new physicists of the narrative form and the creator of this brilliant siteOJN1initated the scene when he sent me this emailJBJeremy1

about this JetBlue adJetBlue1

which is anchored by copy that saysJBJeremy2In my role of Commentor On All Things About Improvisation in Business, I responded to Jeremy’s email with this GameChangers postJBGameChangers1in which i point out that ‘the first rule of improv’ if there even is such a thing, which itself is debatable, is not to say ‘yes’ but to say ‘yes and.’   ‘Yes’ is a state of mind.  ‘Yes and’ is action.  The most fertile ground in the world is useless until it’s planted.  ‘Yes’ is the ground.  ‘And’ is the seed.  My blog post inspired Jeremy…JBJeremy2C

Posi-ffiti!  Yes!  I love threads like this.  As usual, I’d tweeted a link to my blog post. I decided to yes-and Jeremy by calling JetBlue’s attention to its error with a Tweet.  I was able to Google their CMO, Marty St. George and find his Twitter account.  JBTweet2To Marty’s credit, he tweeted back within 15 mins.  This already puts @martysg and JetBlue way ahead of most CMOs in brand narrative game.  It also tells me that this is one vigilant, sensitive cat.  Dude’s running it like Ochocincomartysg1

here @martysg commits the improvisation error of denying.  He does this by being vague–what does “if you said ‘no quotation marks’ I might be with you” mean, anyway?–and acting as if I’d accused him of misquoting ‘John’, and seems to be saying that the mistake is not theirs, but mine, for calling them out on the wrong thing.  I responded by suggesting the ‘Posi-ffiti’ gameJBTweet3

and further suggested how to initiate the game…JBTweet11

@martysg blocks the game… martysg2By acting as if I’d said something I hadn’t–that ‘The Posi-ffiti Game’ would have to be played without ‘John’s’ permission–Marty kills the scene.  This was probably his intention.  He also implies that quoting people without their permission is MY style.  In one statement, he refuses my gift and pimps my character.  Nice.  This is classic old school management style, a familiar corporate game I call, “Parry and Thrust.”  It’s played  by stalling, and staying non-committal (”Hm…if….I might…”) and then landing a knockout blow (”Do something unethical?  Not us.  YOU maybe.  Not us.”)

Look, everybody understands that a CMO like @martysg will not alter an ad campaign because some nitpicker tweets him about the word ‘and’ in an ad.  Like I said, he gets credit for being open enough to have the conversation in the first place.  This is more responsiveness from a tweet than you’d get from 90% of all the CMOs in the world.  It is, however, short of the kind of action a person would get from an improvisational brand like Southwest Airlines.  Furthermore, what happened when @martysg did respond is precisely the point of my blog post.  The conversation didn’t go anywhere because Marty St. George ‘yessed’ and he did not ‘and.’

How might Marty have yes-anded?  Anyone who’s gone through a GameChangers workshop can give you a dozen games that would be more productive than ‘Parry and Thrust.’

The good news coming out of this exchange is that all is not lost.  Jeremy Redleaf has a new job description for OddJobNation: “Posi-ffiti Artist.”

To an improviser, Lost is just the first step on the way to Found.

Just Say Yes And

Friday, August 27th, 2010

Our friend, Jeremy Redleaf, founder and star of the brilliant website, OddJobNation, sent us a photo he took on what looks like a New York City subway train, with the question, “Has Jet Blue been GameChanged?”JetBlue1

Umm.  No.  It has not.  Here’s why:  There’s a mistake in the ad copy.  The first rule of improv is not saying ‘Yes’…it’s saying ‘Yes and.‘  ‘Yes’ is only half a conversation, an agreement without an addition.  The word ‘and’ holds the power, because it merges the realities of two players into a new reality that can be shared by both.

When two players ‘Yes and’ one another, they’re not expressing different versions of reality, competing viewpoints, or two different versions of the truth…they’re co-creating a new reality.  This is why ‘Yes and’ is such a powerful statement and ‘Yes’ gives away power without generating any of its own.

While we support any move in the direction of improvisation as a professional practice–as this Jet Blue ad seems to want to do–it’s maddening when some ad copywriter misstates the practice like this does.

‘Yes’ without ‘and’ ???

To an improviser, it’s like Macaroni without Cheese.

Like Woody without Buzz.

Like Yin without Yang.

And, unfortunately for the people who spent the money for this ad, it’s like a Jet without Blue.

Walt Disney used to call it ‘plussing.’  Don’t just agree with me.  Tell me something I don’t know.  Add useful information.  Give gifts.  Move the scene forward.

John S., are you listening?

Imp

Thursday, July 15th, 2010

Because it is so tightly tethered to comedy, we almost never use the word ‘improv’ in relation to GameChangers (unless we’re referring to actual comedy improv).

We do, however, use the word ‘imp.’  I have always associated the idea of impishness–of being playfully mischievous–with improvisation and even sometimes refer to improvisers as ‘my fellow imps.’  While waiting on a Skype call this morning with Hildy Gottlieb of Creating the Future, I decided to look up the roots of the word ‘imp.’

Turns out that ‘imp’ comes from an entirely different strain of language than ‘improvise,’ which is derived the Latin root ‘improvisere,’ meaning ‘not foreseen.’  ‘Imp’ has Old English roots, a little Latin attribution.  Yet there’s a lot of overlap, like a family from Naples and one from Nottingham having a lot in common.

Here’s how the TheFreeDictionary.com, an aggregator of print dictionary listings, defines it:

imp (mp)

n.

1. A mischievous child.
2. A small demon.
3. Obsolete A graft.
tr.v. imped, imp·ing, imps

1. To graft (new feathers) onto the wing of a trained falcon or hawk to repair damage or increase flying capacity.
2. To furnish with wings.

[Middle English impe, scion, sprig, offspring, from Old English impa, young shoot, from impian, to graft, ultimately from Medieval Latin impotus, graft, from Greek emphutos, grafted, from emphuein, to implant : en-, in; see en-2 + phuein, to make grow; see bheu- in Indo-European roots.]

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.


imp [ɪmp]

n

1. (Myth & Legend / European Myth & Legend) a small demon or devil; mischievous sprite
2. a mischievous child
vb

(Individual Sports & Recreations / Falconry) (tr) Falconry to insert (new feathers) into the stumps of broken feathers in order to repair the wing of a hawk or falcon

[Old English impa bud, graft, hence offspring, child, from impian to graft, ultimately from Greek emphutos implanted, from emphuein to implant, from phuein to plant]

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

ThesaurusLegend: Synonyms Related Words Antonyms
Noun 1. impimp – (folklore) fairies that are somewhat mischievous

folklore – the unwritten lore (stories and proverbs and riddles and songs) of a culture
faerie, faery, fairy, fay, sprite – a small being, human in form, playful and having magical powers
leprechaun – a mischievous elf in Irish folklore
sandman – an elf in fairy stories who sprinkles sand in children’s eyes to make them sleepy
2. impimp – one who is playfully mischievous

child, kid, minor, nipper, tiddler, youngster, tike, shaver, small fry, nestling, fry, tyke – a young person of either sex; “she writes books for children”; “they’re just kids”; “`tiddler’ is a British term for youngster”
brat, holy terror, little terror, terror – a very troublesome child

Based on WordNet 3.0, Farlex clipart collection. © 2003-2008 Princeton University, Farlex Inc.

imp

noun

1. demon, devil, sprite He sees the devil as a little imp with horns.
2. rascal, rogue, brat, urchin, minx, scamp, pickle (Brit. informal), gamin I didn’t say that, you little imp!

Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition. 2002 © HarperCollins Publishers 1995, 2002

imp [ɪmp] Ndiablillo m (fig) → diablillo m, pillín/ina m/f

Collins Spanish Dictionary – Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005

imp [ˈɪmp] n

(= small devil) → lutin m
(= child) → petit diable m

Collins English/French Electronic Resource. © HarperCollins Publishers 2005

imp

nKobold m; (inf: = child) → Racker m (inf)

Collins German Dictionary – Complete and Unabridged 7th Edition 2005. © William Collins Sons & Co. Ltd. 1980 © HarperCollins Publishers 1991, 1997, 1999, 2004, 2005, 2007

imp [ɪmp] n (small devil) → folletto; (child) → diavoletto


imp [ɪmp] n (small devil) → folletto; (child) → diavoletto

Collins Italian Dictionary 1st Edition © HarperCollins Publishers 1995

imp

n imp [imp]

1 a small devil or wicked spirit. kwelgees عِفْريت дяволче čertík, skřítek lille djævel; trold das Teufelchen διαβολάκι diablillo kuradike بچه جن؛ شیطانک pikkupiru diablotin שֵׁדוֹן छोटा प्रेत या पिशाच vražićak kisördög setan kecil púki diavoletto 小悪魔 꼬마도깨비 velniūkštis velnēns anak syaitan duiveltje smådjevel, djevelunge chochlik diabrete drăcuşor чертёнок škriatok vražič vragolan smådjävul ภูตน้อย; ปีศาจน้อย; เทพธิดาน้อย küçük şeytan 小魔鬼 чортеня, бісеня بھتنا tiểu yêu
2 a mischievous child Her son is a little imp. kwajong وَلَدٌ عفريت ، مُشاكِس пакостник rarášek, nezbeda spilopmager der Schelm διαβολάκι, άτακτο παιδί diablillo, pillo võrukael بچه تخس vintiö petit diable שוֹבָב बच्चा, शैतान बच्चा nestaško huncut kölyök anak nakal óþekktarangi diavoletto いたずらっ子 악동 velniūkštis draiskulis; nebēdnis budak nakal deugniet trollunge, skøyer diabełek diabrete drac împieliţat озорник nezbedník porednež obešenjak satunge เด็กซุกซน yaramaz çocuk 頑童 пустун شریر بچہ đứa trẻ tinh quái

adj impish

——————————————————————————————

GameChangers summary:  Both ‘imp’ and ‘improvisation’ express themes of playfulness, the getting of wings, a childlike view of the world, and a mischievous spirit that results in some kind of transformation.  Like improvisation, the imping that describes a plant graft builds on an existing reality.  Impishness isn’t a seed.  It is a branch grafted onto the existing reality of the tree.  It isn’t a new wing, it is adding feathers to a bird that already has wings.

Growth, flight, magic.   What fantastic themes these are.  Imp on!

The Game is the Frame

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.

ArtFrame1Frames 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.

Not Making It Up as we Go Along

Tuesday, May 4th, 2010

Some of my favorite GameChangers are working these days in New Orleans.  As we are going to see eventually with Detroit, artists cannot resist large blank canvases, storytellers chaos, designers dead space, or musicians dead air.  The seeds of innovation are best sowed on dormant ground.  This is where we find the opportunities for new growth, for the expansions of understanding and ability.

This slide was presented as part of a seminar in New Orleans attended and photographed by our friend, Ray Nichols:GodinSlide1

I love a lot of stuff coming out of New Orleans (current bad news about the oil disaster excepted), but I don’t love this slide.  Those of us who design improvisation for business spend too much time already dispelling misconceptions about what we do, and this is the single biggest misconception, that improvisation is “making it up as you go along” a.k.a. winging it, a.k.a. flying by the seat of one’s pants, a.k.a. spewing whatever comes to mind.

In fact, improvisation is specifically not ‘making it up as you go along.’  It is contrary to the idea of making it up as you go along.  It is, rather, a process for acting on one’s environment in a substantive and productive way to generate positive unforeseen outcomes.  One’s environment is not ‘made up’ as one goes along.   It is real, just as the reality of one’s scene partners is real.  They are not making stuff up.  They are dealing with reality, just like you are.   Deal with it.

There are, in fact, many other ways to “make it up”  besides “as you go along.”  There is making it up ahead of time and trying to get followers to go along.  There is making it up after the fact and hoping history goes along.  And there’s making it up in your head, and trying to get your heart to go along.   All of these are realities that must be addressed in any business narrative.

The quote by Godin suggests a divide between planning and spontaneity, between fact and fiction, when in fact business, and life itself, is a balancing act, a continuum, between the two.  Most actions in business are calculated to a fault, and rely too heavily on planning.  (Maybe that is the point of Godin’s quote.)  The purpose, however, of applying improvisation principles to business is not to say, “Forget your planning and your calculations, ignore your research and your institutional memory, because…hey,  we’re going to make this up as we go along.”  That would be disastrous on many levels.  What improvisation says is do your planning but emphasize preparation, because every plan changes, and it’s your ability to adapt to change that will determine your success.

Business improvisation liberates the unconscious mind, but does not disconnect from an awareness of history, environment or context.  It is informed by, but not totally beholden to the numbers, the data, and the rational mind.

The essential message of improvisation is this:  Don’t make it up.  Make it real.  Then act on that reality.

Tiger’s Unplayable Lie

Tuesday, December 15th, 2009

Six years ago, after playing hooky from work on a Friday to watch The Best Golfer in the World play nine holes at Riviera Country Club, I wrote this about him for my company’s blog:

Tiger hit one shot that I will remember for a long time, one of the best I’ve ever seen.   220 yards from the green after an errant drive, out of deep rough, he hit a high draw inches to the right of a big tree ten yards in front of him, inches to the left of two bigger trees 30 yards farther up, a couple of feet over a bunker fronting the green, to within ten feet of the pin.  People in the gallery ooohed and aaahed and applauded, then gathered around the divot he made in the rough like so many TV cops peering down at a murder victim.   “Look at how long it is,” they muttered of the divot.  “Look how wide he took his swing path.”  “Did you see how hard he went down after it?  Damn!”

And…

His focus is the most intimidating thing about his game.  There is an unshakeable calmness to him that you don’t see in the other pros.  Earl named him well, because he plays golf like a big cat stalking its prey.   The confidence he has in the inevitability of his success is absolute.

And…

And yet…and yet…it’s strange to stand near another human being and not sense any more humanity in him than you would in a thoroughbred in the paddock at Santa Anita.   What makes us vital—all that brawling, longing, laughing, crying, hurting and loving—all that bitching and moaning and mucking around most of us do on a daily basis–is bad for a person’s golf game.  And so none of it seems to be part of Tiger’s make-up.  He is, on the golf course anyway, inhuman.

The Scripted Narrative

The Scripted Narrative

Today, the Eldrick “Tiger” Woods story, scripted for him by his father, Earl, since before he was born, is falling apart quicker than a 20-handicapper’s swing on the back nine of the club championship.  In two weeks, Tiger has gone from paragon to pariah, and has proved beyond a shadow of a doubt that a brand can no longer script the humanity out of its narrative and expect the world to play along.  In the billion-channel cosmos of the Networked World, sooner or later reality will outflank any brand’s ability to script and control its story the way brands could when there were three TV networks and a couple of major newspapers to be reckoned with, and story material was limited to what happened inside the ropes at Riviera.

As this is written, the Tiger Woods brand burns out of control like a California wildfire, and embers from Tiger’s Inferno have landed on the roofs of Nike, Gatorade, Gillette and Accenture, and they’re in flames, too.  Buick’s house of straw (did anybody ever really believe Tiger drove a Buick?) is probably burned beyond salvaging.

What’s fueling this fire isn’t the the commonplace tabloid fodder of marital infidelity, it’s not about whether you side with a justly aggrieved wife or forgive a superstar his transgressions.  This story is much bigger than that.  It is a story as old as Achilles, the story of a hero’s fall from grace.

It’s in our nature to want to see a story completed.  Tiger’s story will hold the audience’s attention at least until the downfall is assured, the disgrace complete.  The light at the end of Tiger’s tunnel—and the hope for any brand that has lost its way—is that the journey does not have to not end with the fall from grace.  It may be impossible for the audience to turn away from a tragedy, but what the audience turns to of its own volition, and embraces more fervently than anything, is the hero’s return.  As Joseph Campbell chronicles in Hero With A Thousand Faces, ‘falling to the Temptress(es)’ is one of many twists in the journey toward true heroism.  Tiger Woods can redeem himself in the eyes of his audience, but he’s got to want to be an authentic hero, not one playing a role that has been scripted for him.

The Networked World Defies the Script

The Networked World Defies the Script

Here are five productive moves he (or any other burning brand) can make in that direction:

1.  Accept the Unplayable Lie.

For you non-golfers, a Lie is Unplayable when the ball is in a position where not even Tiger Woods can take a productive swing at it.  At that point, you’ve just got to accept the penalty and play on.  This is the situation in which Tiger finds himself today.  There is no excuse that will satisfy.  No spin that can put the scandal to rest.  He’s got no swing at this one.  He’s got to cop to being a pig and a dog and apologize with more than words for whatever hurt his family, and get on with whatever’s next.  Too many brands waste time talking about how or whether to play the unplayable lie, instead of quickly agreeing that it’s unplayable.  They will consult with caddies and seek ruling from judges.  They will pull different clubs out of the bag.  They will check the wind.  They will roll up their pants legs and walk into the hazard.  Sometimes, they will even go all Van De Velde (for you golf fans) and take a stupid swing at the ball and make things much, much worse.   And all along, the best thing would’ve been to simply accept the penalty and play on.

2.   Be entrepreneurial.

I always thought Tiger missed an opportunity when he signed with Nike for so much of his gear.   Nothing against signing with Nike for the clubs, shoes and whatever, but giving them the clothing line, too, turned him into their mannequin.  Nike dresses him like a second grader in a private school.  His golf clothes are billboards with swooshes.  He could be wearing clothes designed by people like Bill Johnson’s Transient label in D.C., or eco-friendly brands like Nau or Vital Hemptations. Small businesses of all kinds need help these days, and Tiger is just the guy to give it to them.  He can help take a small minority-owned solar energy company national.  He can sign with up-and-coming companies as sponsors, and not charge them a dime.   Instead, he can own equity in them.   This will have the added benefit of re-energizing the fan base, as pulling for Tiger will mean that you are pulling for a host of deserving upstart companies, too.  The hero’s journey requires allies along the way.

3.   Embrace your Cablinasianism.

Tiger has made a big deal about being what the brand calls ‘Cablinasian.’  Caucasian-Black-Indian-Asian.  Okay cool.  But the scripted Tiger only explores a very narrow strand of that, the strand that is privileged, plays a lot of golf, owns a yacht and apparently hits on anyone carrying a cocktail tray.   All brands can tap creative energy by exploring their multiculturalism.   Tiger’s ethnic makeup is one thing besides being a great golfer that can differentiate the brand, but he has to show the audience what Cablinasian means beyond the clever cosmetic of a made-up word.

4.   Be a supporting player for a change.

From the time he was born, Tiger Woods has seldom been in a scene in which he was not the star.  His father basically abandoned his other children to focus on young Eldrick.  By age two, Tiger was on national television hitting golf balls.  When he was a junior, he played with the grown-ups, when he was in college, he played with the pros, as a pro, he plays against the history of the game itself.   That is a pretty lonely path.  He needs to focus on sharing the narrative with others for awhile.  This does not mean going into hiding.  It means consciously taking a backseat in someone else’s scene.  Raise your children.  Work with your charities.  Find a protégé to coach.  In the Networked World, we are measured every bit as much by what we contribute to others as by what we amass for ourselves.  No brand is an island.

5.   Get better at something you’re bad at.

We all develop go-to moves.  If you are good at something, and receive a ton of approval and money for doing it, what is your motivation for doing anything else?   Here is your motivation:  In the Networked World, the narrative is not only multi-channel, it is multi-dimensional.  Relying on your go-to move has the effect of limiting your brand’s value, because it limits the dimensions of the brand that have the potential to improve and grow.  When you have won the Masters by 12 strokes and the U.S. Open by 15 and are probably The Greatest Golfer Who Ever Lived, golf is not an area of growth.  It is a flat line at best.  The growth areas are the dimensions of the brand that have not yet been explored.   For Tiger Woods, this could probably mean just about anything other than playing golf and getting girls’ numbers.  What does it mean to you?

Applied Improvisation, Part Six: Belina on Biomimicry

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!Trees1A

Applied Improvisation, Part One: Nurturing Spirit

Wednesday, November 18th, 2009

Last weekend, I attended the Applied Improvisation Network’s yearly conference, which was held outside Portland, at stately Edgefield Manor.   Edgefield Manor, for the first 50 years of its existence, used to be what was called a ‘Poor Farm,’ where indigent people could work on the land and get a hand finding a pathway back into society.

The more things change the more they don’t stay the same. The homeless shelters of today are, by and large, pacifiers. They feed, clothe and shelter poor folks, but they do not usually nurture them in the way that working the land on a Poor Farm would.

It seems, however, that the spirit of nurturing still courses through Edgefield, especially when there are improvisers in the house. You will never encounter a more supportive crowd than the people attending this conference.

And the name Edgefield, I mean, come on, it’s perfect!  Can you think of a better way of describing the market niche occupied by applied improvisation?   We used to live in Outer Edgefield, but now it’s Edgefield, and I think that suits most of us just fine.  Who wants to live in Centerfield anyway?  Not me.  Never have.  Never will.

My own workshop, Improvisation for Business in the Networked World, went well, and offered lots of opportunity for follow-ups, but the many gifts that came my way during the conference far outweighed anything I had to offer.  The posts that follow describe a few of those gifts…

A workshop at the AIN Conference

A workshop at the AIN Conference

Scrumprovisation

Thursday, May 14th, 2009

There is no shortage of improvisation in business.   The challenge is doing it well.  If you improvise well, you will be consistently productive, generate wealth over time, and have the ability to maintain your independence.  Improvise poorly and you are a drain on productivity, dependent on wealth generated by others, and develop habits that conceal your shortcomings instead of displaying your skills.

In the Networked World businesspeople not only need the ability to improvise well, the environment demands systems and processes to replace the tired and increasingly ineffective methodologies of the Industrial Age,  systems and processes that bring discipline, structure and consistent performance to the googly dynamics of networks. (more…)

SXSW #6 – OBAMA THE IMPROVISER?

Sunday, March 22nd, 2009

I attend a session on the Obama presidential campaign’s use of social media.  A guy from Howard Dean’s online team and a female Republican digital strategist (just how oxymoronic can one person get?) also sit on the panel, but when they speak, the crowd gets restless, like Sasha Vujacic is handling the ball instead of passing it to Kobe.  People want the Obama narrative.

I get in line to ask a question.  The moderator, Michael Bassik, the Chief Digital Officer for Air America asks me to keep it short.  I say it’s a yes-or-no question.  After explaining what I do, and noting that Hyde Park, where the Obamas lived before the election, is the birthplace of modern improvisation, I ask the Obama people on the panel if, to their knowledge, anyone on the Obama team used ‘improvisation’ to describe their candidate’s methodology.

“No,” says Bassik.

“Thank you,”  I say.

The instant the panel is over, I make a beeline for Bassik, hand him my card and say “What Obama does is learnable.”  This gets his attention.  A week after the conference, Bassik and I are corresponding about how GameChangers can help evangelize and scale Obama’s style and a progressive political agenda.

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