Posts Tagged ‘Innovation’

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.

Power and Powerlessness

Friday, March 5th, 2010

TheNewHow1This is from a blog post by our friend, Nilofer Merchant, author of the new book The New How: Creating Business Solutions Through Collaborative Strategy:

The challenge with people feeling powerless is this: we don’t see how we can contribute to solve problems. We believe it is “someone else’s” to own rather than something any of us can contribute to. Powerlessness leads to apathy on global issues and disdain on local issues.

Now check out this from Mick Napier’s classic book, Improvise:  Scene from the Inside Out:

Two people…staring at each other and wondering who’s going to make the first move.  Two people being nice to each other and allowing the other to start doing something.  In that short amount of time, two humans have created themselves as powerless…Who has time?  The audience is waiting.  They don’t care about your support.  They care about what you do.  What you do now.

These two statements, made miles and years apart, reflect the timelessness of the concept:  Do something!  Participate!  Add to the conversation!  When you’re just getting started don’t worry about what the solution will be, or where the scene will take you.  No one knows, and your audience doesn’t care.  The most important thing is to bring to the scene whatever you’ve got.

The saying in improvisation is ‘take care of yourself first.’  This is not the same as being selfish.  It is, rather, the recognition that making the first move, even if we are not always the one to make it, is always our responsibility.

Story Yourself

Monday, March 1st, 2010
Michael Margolis

Michael Margolis

Not long ago, thanks to a series of events set in motion by our mutual friend, Michelle James, I had the good fortune to connect with Michael Margolis, the founder of GetStoried.com and the author of Believe Me — “a storytelling manifesto for change-makers and innovators.”

There’s a natural affinity whenever professional storytellers get together.  Everything reminds us of a story, and so the conversation tends to leapfrog from anecdote to observation to insight, and back again.  Michael and I not only leapfrogged.  We hopscotched.  We see-sawed.  We tagged, hide-and-go-seeked and monkey-barred.  We were a couple of kids at recess, playing with our favorite toy.

What I like best about Michael’s approach to storytelling is that it’s active.  Story, seen through his lens, isn’t passive.  It’s not static.  Not fixed in time or immutable.

Story is alive.  It’s dynamic.  In constant motion.  In fact, telling good stories, while it has its place, is not nearly as productive as the living of them.  This is what Michael gets at in Believe Me.  It describes stories as our most powerful way of defining and shaping the world we live in.  Seeing stories in this light gives us the ability to transform them from past-tense or scripted, into a form that is revealed to us in each and every breath, and transmitted to our ‘audience’ in each and every action we take.

This is the learning that emerged for me from Believe Me.  Story is more powerful as a verb than as a noun.

Don’t think of story as a Thing.  Treat it as an Action. The act of Changing.  Innovating.  Revealing.  Inviting.  Reflecting.  Making.  Learning.  Leading.  Contextualizing. Connecting. Understanding.  Liberating. And yes…Playing!

Someday, after the fact, a Story may describe What Happened.  Right now, the only time that matters, Story is What’s Happening.  Knowing this difference will make you more observant and appreciative in the moment, and when it’s time for you to tell your story, it will rock, and your audience will Believe.

Over Under Sideways Down

Tuesday, February 23rd, 2010

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

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

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

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

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

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

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

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

Quantum Narrative

Thursday, February 4th, 2010

We create and share stories as a way of understanding the world.   Our ’sense of narrative’ guides us through life.  Narratives are the basis of community.  They inform our relationships.  Characterize our business decisions.  Color our music.  They affect everything from our spiritual beliefs, to the schools we attend, to the products we patronize.CaveWallDrawing2

Storytelling is in our DNA.  You can even say our DNA is, itself, a story as old as life on the planet, told in a language first translated in 1953 by scientist-storytellers Watson and Crick.  Before 1953, scientists knew the story existed, they just didn’t understand the language in which it was told.  Watson and Crick cracked the code and the story has been unfolding ever since.WatsonCrick1

Narratives are the most powerful way we have of organizing information.  They impose structure and meaning on the chaos of communication that flows like a thousand roaring rivers into, through, and out of networks.   They connect virtual experiences to the real world.  They inspire action.  Narratives make sense of it all, and of our relationship to it all.

As you may know, brand narratives designed for the networked world cannot be scripted, they must be improvised.  Much of the work we do at GameChangers involves helping our customers become better improvisers of their narratives, and not focus as much on telling good stories as they do on living good stories.  It is much easier and more cost effective to preach what you practice than it is to practice what you preach.

Here’s a huge distinction between scripted and improvised narratives:

Scripted narratives operate under the laws of Newtonian mechanics (also called classical mechanics).  Call them Newtonian Narratives.  Improvised narratives, by comparison, operate according to the laws of quantum mechanics.

Call them Quantum Narratives.

NewtonianBalls1Here are some characteristics of a Newtonian Narrative:  It is finite, with a beginning, middle and end.  It unfolds in linear time.  It follows a formula or script.  It has a credited author.  It is inhabited by a well-defined and finite number of players.  It is rooted in physical geography.  It is platform specific (even when it is multi-platform).  It is solid, mechanical, repetitive and dependable.  It is immutable.  The book you read today will be the same book tomorrow.  It is causative, that is everything in a Newtonian Narrative happens because of something else.  Events are related to one another according to its formulas.  (”If Peyton Manning endorses it, people will buy it.”)

Another important distinction:  a Newtonian Narrative can only be conjecture before the fact and can only be true (or not) after the fact.  That is, until events have actually transpired, there is no truth to these narratives.  A book cannot be read until it has been written, , a news story cannot be reported until the ‘news’ has occurred, and all our scripts, game plans and predictions are, at best, a positive vision of what we’d like the future to hold.  None of it is our reality.  Newtonian Narratives predict the future and chronicle the past, but they are not ‘alive.’  Examples of Newtonian Narratives are: market research, feature films, sitcoms, print media, TV ad campaigns, style guides and the shopping list on your refrigerator door.

One more characteristic of the Newtonian Narrative:  It places a premium on knowledge, by defining knowledge as a have/have-not concept.  It rewards ‘knowing,’ and penalizes ‘not knowing.’   In the Newtonian Narrative, knowledge is something you earn, or pay to acquire, at which point you are said to ‘own it.’

None of this is to say that the Newtonian Narrative is necessarily bad, or undesirable.  Just like Newtonian mechanics in physics, it has its place, and that place is vital, as Toyota is learning today to its dismay, with all its recalls on defective car parts.  (Something in its process didn’t follow the script its engineers had authored.)

Networks call for a different approach to storytelling.  A quantum approach.  Understanding this difference and acting on it presents a huge opportunity for businesses and brands, and perhaps our best chance for economic growth that is both profitable and sustainable.

QuantumStructure1The Quantum Narrative redefines storytelling by ripping up and recomposing the stuff stories have been made of since the first cave dweller showed her companions how to build a fire (and got thrown out of the cave not long after by another cave dweller who claimed the secret of fire for himself).

Though it literally has existed forever, production of this kind of narrative is still in its infancy.  You can see glimmers of it in transmedia, massive multiplayer games, distributed production models, theme parks, social media, alternate reality games, activist brands, smart badges, business in China, remixes and mashups, augmented reality, micro-loans and the video of your dance in the musical, Hair.

Here are some of the characteristics of a Quantum Narrative:  It has no beginning, middle or end.  It has unlimited numbers of beginnings, middles and ends.  It is generative instead of repetitive.  It is participatory instead of authored.  There’s no traditional storyteller-audience relationship; in the Quantum Narrative, everyone is responsible for creating the story.  It does not foster consumption as much as it invites customization.  This is why participants in these brand narratives are not consumers; they are customers.  Or players.

A Quantum Narrative is not bound by time, space or geography.  As with human DNA, what happened 40,000 years ago is still present and active in the narrative today.  This kind of narrative can transpire in the blink of an eye or unfold over many millennnia.  Or both.  It happens here at the same time it’s happening across the room or the planet.  It resembles the playing of a game by an infinite number of players more than it does the telling of a story by one person to an audience in a room.

A Quantum Narrative is platform agnostic.  You cannot tie this kind of story to a technology or convention, because is designed to liberate itself from such conventions and transcend the media that deliver it.

A Quantum Narrative is present tense, which means that it does not get bogged down by history or saddled with expectations.  This is probably its most important characteristic, because it means that every single action in the narrative holds breakthrough potential.  Breakthroughs are not predicted by the narrative, they are, rather, made possible by it.  It is non-causative, that is, you cannot always know how or why things occur.  Serendipity plays an important role.

Quantum Narratives do not focus on who has knowledge and who doesn’t.  Instead, they begin with the premise that everyone (and everything!) has knowledge, and the fact that we don’t all know the same things is an advantage, not a drawback.  Quantum Narratives are designed to be shared, not owned.  They emphasize interpretation, context, and perspective over a so-called body of knowledge.

Quantum Narratives create the conditions for unexpected collaborations and syntheses of ideas.  They connect what has been scattered, make whole what would otherwise remain divided, and continually evolve.

They focus more on theme than on plot.  They assess performance in terms of consistency (thematic alignment) and inconsistency, not in terms of rightness (on message) and wrongness.  There’s only one way to be right, but there are unlimited ways to be consistent with a theme.  This, too, has huge implications.   It means that Quantum Narratives, in addition to being more adaptive, possess way more potential than Newtonian Narratives do.  It’s the difference between an atomic reaction and a stick of dynamite.

Pragmatic Chaos and the Winning Game

Friday, September 25th, 2009

NetFlix1In the Business section of its September 22 edition, the New York Times featured an article by Steve Lohr about a Netflix-sponsored contest with a $1 million prize for the best solution for helping the movie rental service improve its recommendation system (”If you like Movie X, we recommend Movies Y and Z…”)  The article included a number of insights into what we call a Winning Game:

1.  A winning game attracts winning players. By giving participants access to a very sophisticated data set, NetFlix’ contest was designed in a way that attracted highly-skilled programmers from around the worl.   The game itself serves as an organizing mechanism and a magnet for talent.

2.  A winning game invites collaboration.  The winning team, which called itself BellKor’s Pragmatic Chaos (pragmatic chaos–a great description of improvisation!) was composed of scientists, statisticians and coders from half a dozen countries who joined forces in the course of the contest.   By collaborating, they all increased their chances of getting to the prize.  Collaboration begins with communication.  It leads to learning.  It results in transformation.

3.  The performance of the team is more important than the performance of any one player. See #2.

4.  Successful outcomes cannot be scripted ahead of time, they must be improvised.  No one member of the Pragmatic Chaos team had the roadmap to victory before the game began.  It was the collaboration, and their ability to improvise, that guided them to the winning solution.

5.  In a winning game, there are no losers. Only one team got the $1 million prize awarded by Netflix, but there were many winners.  If you improve your performance through participation, you win.  If you make a connection, add to your knowledge, or get a fresh perspective on a problem by virtue of playing the game, you win.  The second place team in the Netflix contest, Opera Solutions, a NY-based data analytics company, not only got a lot of coverage for its brand in the Times article, its CEO, Arnad Gupta, described the $1 million prize as “trivial.”  “We’ve already had a $10 million payoff internally from what we’ve learned,” he said.

6.  A winning game is designed to improve everyone’s performance. Viola Spolin, the godmother of modern improv, distinguished between competition and contest.  A competition, by her definition, is designed to separate winners and losers, and inevitably results in an ego-fueled quest for status, dominance, and control of the narrative.  Because walls go up and knowledge gets hoarded, not shared, competition limits opportunities to collaborate and learn.  A contest, Spolin explained by way of differentiating, is a way of competing with oneself, and of improving the performance of one’s team.  It results in what she called extension.  Participating in a winning game makes you and your team better players than you were before.

The Times article mentions several other games that, like the Netflix contest, are designed to yield productive outcomes for all their players, among them the X-Prize Foundation, and InnoCentive, an online forum for collaborative problem-solving and innovation that launched in 2001 and has attracted the attention and participation of big brands like Eli Lilly Co., Avery, and Procter & Gamble.

Footnote:  The article quotes Michael Schrage, a research fellow at MIT’s Sloan School of Business and one of the most brilliant analysts of business innovation I know.  Schrage and I have corresponded about GameChangers and improvisation in business.  He told me in one email that he was an “improv kid,” from the South Side of Chicago, the same neighborhood where Viola Spolin lived and worked.  When he was in high school he built props for Second City shows.  “I cried when Del died,” he wrote.  And if you truly know improvisation, you know what Schrage means by that.

For sure, the game is changing.  And improvisers, in all walks of work and life, are the ones who are changing it.

Health Care, Already Reforming

Wednesday, September 9th, 2009

We have a client in the health care sector, and our work with them has put us in touch with remarkable people who are changing the health care game without waiting for President Obama or any other policymaker to tell them how to do it.  People like Jay Parkinson, co-founder of HelloHealth in Brooklyn, Greg Gramelspacher of Wishard Hospital’s Palliative Care Program in Indianapolis, and Gordon Moore, founder of the Ideal Medical Practice Movement.

CarePractice1Dr. Aaron Blackledge opened his San Franscisco clinic, CarePractice, in 2008.  Today it is the fastest-growing primary care practice in the Bay Area.   We have ideas about how the new community-based, patient-centered models will do more than any legislation to define the future of health care in the U.S., but we cannot express it any better than Aaron Blackledge can.  In his own words, he describes what he did to change the game:

“In the beginning I told my employee–at the beginning there was only one–that if he had friends or family that needed to be seen that he had the authority to set the price on his own without asking me for permission depending on how much they could afford or how much of a deal he wanted to give them.  This may seem crazy to some people, but I think I benefited in so many ways from this practice and feel lucky I came up with at the beginning of Care Practice. It really helped to empower my staff and bring in clients that loved Care Practice.  It reminds me now that since we have grown so much in the past 3 months I am not sure if all the new staff are aware of this ‘policy.’  I will have to remember to tell people about this tomorrow.

Carepractice3“I went to Sarah Lawrence for my undergrad degree.  I was a dance major.  My background is artistic as well as medical.  I have taken many improv classes.  My artistic background helps me look at medicine as a design, a feeling, an experience, that the current medical establishment so horribly lacks.  I know Jay (Parkinson of HelloHealth) is a very accomplished photographer.  I don’t think it’s a coincidence.  Artists are used to facing the unknown, the blank canvas or the empty stage.  We’ve done the same with the medical profession.  What we’re doing didn’t exist before we did it.

“I come from a social activist background.  I never desired to be an entrepreneur.  Never desired to own my own company.  I left my last job and was canvassing for Obama in California.  I heard that Super Tuesday speech, where he said,  I’m paraphasing, ‘Be the change you seek.’  And I thought why isn’t anyone doing this?  And I finally realized you know what, this is my moment, this is my time.  And if I’m going to do it, I’m not going to do it partially.

“I tapped into my altruistic desires, into what it meant, and then I risked everything.  Every dollar I owned, or that I’d ever saved, and put it all into this.  If I needed to spend money on something to make this happen, I spent it.

“All my friends thought I was absolutely crazy.  They couldn’t believe it.  Some of them thought it was going to be some raggedy little space, not the big facility that we have.  Everyone else is closing up shop and joining Kaiser.  And they’re like, ‘What, you’re opening a clinic?!  What are you thinking?!  But I looked at it like this:  There’s no access to care in this city.  There are vice presidents of companies that can’t get in to see a doctor for like a week.  If do it transparent, intuitive, and don’t charge a lot…and I really wanted to show that the future of networking and connecting with patients was through social media.

“I put it in a place where there were lots of young people who’d talk about it.  Mention it on their Facebook, on their Twitter, on their Yelp.  I chose the neighborhood I’m in, Mission Dolores, specifically for that purpose.  I’d heard the story about Tommy Hilfiger opening stores in urban areas and basically letting people shoplift from him, and that was sort of my thinking.  Everything has to exceed expectations.  It’s not what you come in with that matters, it’s about what you walk out with.  We’re building CarePractice as an entity that resonates in the community.  Giving free care to the busboy at the little restaurant who cuts his hand…taking care of one of the guys at the bike shop who has an eye infection.  I wanted to express the view that taking care of people is about more than money, and that is how we’ve grown.

CarePractice2“My place looks kind of fancy, but it’s equipment and furniture I’ve bought from doctors closing their practices, CraigsList, Ikea and eBay.  Everything I have is used.  I put the money into the space, because I wanted that experience.  People don’t even know why it is that it’s different, but it is powerful.  The people who designed it (Indicate Design Groupe) design a lot of restaurants and retail spaces.  They’re used to saying to their clients, ‘Okay this is definitely going to be popular, people are going to come here, you focus on the food.’  And that’s the way we think about CarePractice.  They said to me, ‘You take good care of your patients, because we’re going to bring the people.’  So we focused on the roll-out like a restaurant opening.  People identify with that.   We are like a favorite restaurant.  People point us out as their clinic.

“I want to give you real examples of neighborhood care.  Basically it usually involves simple things for people with little money or struggling that we know through the neighborhood.  The Latino laborers of the contractor who helped to build Care Practice always come to me for their bumps and illnesses and I see them for free.  There is also a shop right next to us and I see a lot of the employees for simple stuff for free or significantly reduced prices and they always tell me if my car is chalked or run up to my car when it is about to get ticketed and pretend like it is their car when the DPT comes.   They are always ready to help me carry in supplies when I need help, which is often.  Another example is the security door guy at a neighborhood shop who I always talk to on the street.  He wanted to quit smoking and asked me to get him some Chantix so I ordered him some at cost and he just yelled out to me a week ago when I walked by that it had been 5 months since his last cigarette.  I didn’t charge him anything besides the cost of the meds. When you create that type of sentiment in a neighborhood it is a powerful component to branding a business.

CarePractice4

“You (i.e. GameChangers) talk about the beginner’s mind, improvisation, and not being afraid to feel like a dumbass and make mistakes the first time around.  That’s the way I look at it, too.  Build a company that serves patients first.  I want every one of my employees to see that we’re generous.  Every interaction is an opportunity to show your character.  And in an age of social media, it is magnified by ten.

“I think the health care system is so ready for change, and people are so unhappy, and the amount of money being spent is so huge that I think can happen very quickly, and not necessarily through legislation, but through individual action.  Ten thousand doctors getting up and walking out of the room and saying we’re not going to do it that way any more, we’re going to do it differently, can change it.  That is my goal.

“People often ask me about health care reform, ‘What if we have single payer?  What if we have this or that?’  My response is that I don’t care.  I can turn on a dime.  I can turn the entire practice around and move in a different direction, and I can do it in a day.  If we went to a Canadian style health care model, pfff, I don’t care, I’d change overnight.”

CarePractice5

Creativity in Business Conference – Oct. 4, Washington D.C.

Friday, August 14th, 2009

If you are in the D.C. area, and are interested in learning how to apply the GameChangers principles and other techniques for fostering creativity in the workplace, you’ll want to check out the Creativity in Business Conference.  It is being organized by our friend, Michelle James, and her Center for Creative Emergence.  I’m conducting a GameChangers session there, and moderating the plenary panel discussion, which will be all about improvisation in business.

CC1

Michelle has been teaching the principles of improvisation in business for a number of years.  She has assembled a stellar line-up of presenters who are aligned in the belief that creativity is the secret to a rich and satisfying working life, and to the necessary transformation of American business.  The Industrial Age models won’t cut the mustard in a Networked Economy.

I’m hoping to learn at least as much as I teach.

No sector needs more applied creativity and innovation than the federal government.  Obama and the Executive Branch can’t do it alone.   Today, through the lens of the health care debate, it’s easy to see the divide between the fearmongers clinging to a status quo in which insurance companies and big pharma control the U.S. healthcare system…and the champions of change who understand that we cannot continue to go down a path that puts so many barriers between health care providers and patients.

When the providers themselves want reform, you know something is screwy with the current system.  Yet so many people are afraid of change.  Of the unknown.  Here’s the insight for those people:  In resisting change and clinging to the past, you are guaranteeing your own irrelevance.

This is where creativity plays such a huge role in productive change.  Creativity is all about stepping confidently into the unknown, of facing the blank canvas of the future with the skill and preparation to turn it into a remarkable confluence of art and commerce.  It means confronting one’s fears instead of withdrawing from them.

If the objective (as in this instance) is better health care for more Americans, we have unlimited opportunities to make moves in that direction.  But we’re only going to make the moves when we realize that the process can be its own reward, and that in the process, we will discover the options and opportunities that will never come our way when we are ruled by our fear and frozen by our uncertainty.

Make your move, D.C.!  Sign up today!  (before Aug. 31, you get a nice discount)  See you there!

Celebrating Revolution

Saturday, July 4th, 2009

Revolution1A memory is only as good as our ability to turn it into action.  We remember what we want to keep alive.

It has never been more important than it is on July 4, 2009, that we remember the founding of the United States of America as a Revolution, an overthrow of a distant ruling elite that had lost touch with the people.

Because today we need another Revolution.

We need a revolution against the kinds of businesses the U.S. has invested in way too heavily for the past 125 years, the businesses that sustained the oil-and-war economy built by people like George W. Bush’s granddad, businesses that President Eisenhower in the 1950s labeled the military-industrial complex.  Today the news media is complicit in the complex.  After all, what is more likely to keep you glued to the feeding tube than something scary happening right outside your front door? (more…)