Posts Tagged ‘John Seely Brown’

The Power of Pull

Wednesday, June 16th, 2010

This is not a review.

This is an appreciation.

PoP_CoverJohn Hagel III, John Seely Brown, and Lang Davison’s new book, The Power of PullHow Small Moves, Smartly Made, Can Set Big Things in Motion, describes the business environments most of us are living in these days:  fluid, complex, generative, with networks, not machines, as their framework.  The book itself reflects this.  Its structure mirrors the structure of a network.  Its concepts are expressed as a matrix.  This gives the Power of Pull depth and perspective that asks quite a bit of the reader.  I had to go through the book twice to even begin to grasp its concepts and their implications to business.

The reading expands as you’re reading, as if you could stop at almost any page in the book and use it as a lens to zoom in on some aspect of business in the 21st Century.  What will it be like?  How will it change us? How can we change it? Who will prosper? What will hold us back? What’s the relationship between chaos and control? Between core and edge? It’s a lot to ponder.  This is not some fluffy recipe for feeling good about the future.  This is an important assessment of the work to be done.

The Power of Pull labels this evolution ‘The Big Shift.’  Make no mistake, The Big Shift is a life-altering change of game.  It is the tornado to Oz.  It is the jump to hyperspace.  It is the event that turns everyday turtles into Ninjas.  Prepare to be transformed by what you read.

Here’s a small sampling of the many concepts expressed the book that can make the difference between survival and prosperity in the networked era of business.

Push vs. Pull. ‘Push’ business models are (the GameChangers term for it) ‘Industrial Age’ models.  They are machine-like, hierarchical, heavily scripted, and emphasize planning over preparation. As one manager told me recently, “We are supposed to plan for every contingency, but you can’t plan for every contingency.  It’s impossible.”  ‘Pull’ models, by contrast, are dynamic, nimble, and emphasize preparation over planning.  In the Pull model, plans are designed to evolve, and deviations from the norm are seen not as failures but as opportunities to learn and grow.

Stocks vs. Flows. Push models treat knowledge as a scarce commodity.  A stock.  A ‘Push’ manager says, “I know but I can’t tell you.”  Pull models treat knowledge as an abundant resource.  A flow.  A Pull manager says, “Here’s what I know that can help solve the problem.”

Fast Learning. Push models called for standardized institutional learning.  Everyone worked off the same playbook.  In the networked world, there’s no time to transfer knowledge from edge to core, have it interpreted, codified and re-distributed to the edge as institutional dogma.  By the time the core has reacted, the opportunity to put the knowledge to use has been lost.  Because they treat knowledge as abundant and not as a scarce commodity, Pull models are free to direct flows of knowledge not just to the core, but to wherever in the enterprise there is a problem to be solved.  This is a far more efficient way for a company to apply its knowledge than the old Push model.

Small Moves. As improvisers we learn that the little things can make the biggest difference to performance, because the little things that have the ability to expand into big things, and the audience loves this.  Big things, by contrast, can only get so big as to be unmanageable, or be broken down into manageable chunks.  The small moves have manageability built into them. Networks are designed to knit together small moves into significant phenomena.  When communication is significant, markets move.   And when markets move, money gets made.

Serendipity. (I neglected to include this in the original post, and it’s important.)  Serendipity is an unforeseen positive outcome.  Because networks contain infinite potential for serendipity, it is essential to take it into account in the Pull model, as Hagel III et al certainly do.  Improvisation can influence serendipity in two ways:  First, because unforeseen positive outcomes are what improvisers intend in every scene, it invites serendipity; second, it is a process for turning the unforeseen events into positive outcomes.   Push models automatically regard what is unforeseen as negative.  Pull models (and improvisers) greet what is unforeseen as an opportunity to make something positive happen.

What JSB, Hagel III and Davison describe in The Power of Pull is a kind of magnetism.  The cover of the book shows iron filings aligning along magnetic fields.  This is my one quibble, what I’d call a slight disconnect in their narrative:  If The Power of Pull is, in fact, meant to describe magnetism, then the concept of Push can’t be discounted or discredited quite so much as the authors seem to want.  Magnetism involves both Pull and Push, attraction and repulsion.  There is a relationship between the two.  Just because we are divorcing Push to marry Pull doesn’t mean we’ll never deal with Push again.  We had kids with Push.  We built some wealth together.  As the authors themselves point out in the book, without a core there can be no meaningful edge.  Push will never be entirely out of the picture.

There is a whole new language coming into existence to describe business in the networked world.  This language invokes new rules, like the 140 characters rule; and defines new ways of collaborating, like the crowdsourcing game.   The Power of Pull freshens the lexicon by describing how and why business is changing, must change, to prosper in the new realities made possible by networks.  If, as I believe, this is magnetism we’re talking about, the work of realizing the new realities will consist in equal parts of rejecting the negative, attracting the positive, and not messing with the in-betweens.   Push, Pull or Get Out of the Way!

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.

Paddles, Balls and Painted Dogs

Friday, April 16th, 2010

This one goes out to all the storytellers…

Ping Pong wasn’t perceived as a real sport until it became table tennis.  And now that it has its first sex symbol in Biba Golic, it has, let’s say, aroused a certain demographic that paid scant attention to it before.PingPongTableTennis1

The wild dogs of Africa could not be brought back from the brink of extinction until Greg Rasmussen renamed them ‘painted dogs’ (per Nick Kristoff in the NY Times).

And the art of storytelling won’t gain mainstream cred with MBA-educated managers and their brands until professional storytelling gets re-branded and re-positioned.  This came to me while I was reading about how  legendary story consultant Steve Denning changed his working vernacular so he could talk to his clients without them thinking they already knew it all.

Let’s begin by looking at the current status of storytelling in business.  Many managers will tell you that storytelling is too airy to feed the bottom line, or as Denning says, they think they’ve got their story covered.   And they do.  They have it covered.  As in they have a story and they’re sticking to it.  Bringing up the subject of storytelling can be a license to snark.  “Story?  Yeah, we got a story.  We sell our product as often as possible for more than it costs to make and deliver it.   We make our number.  We go get a a drink.  We live happily ever after until the next quarter.  The end.”

As we know, these perceptions cripple a brand.  When a story stops moving forward, it dies.  And when a brand’s story dies, the brand is sure to follow.  Here are three moves professional storytellers can make to break through the crippling perceptions.

1)  Shift the focus from ’story’ to ‘narrative.’ Narrative is our table tennis.  It is our painted dog.  Story is finite.  It has three parts, beginning, middle, end.  Narrative, by comparison, has infinite potential.  It is flow.  It is to organizations and brands what the Ohio River once was to the Shawnee Tribe.  The source of sustenance.  Stories are like the fish that come from the river and feed the family.  Narrative is the river.

2)  Share the narrative. In the networked world, brands can no longer script and control their stories the way they used to when there were only twelve or fifteen media channels for a manager to worry about.  And they can no longer operate on the false assumption that the story that works today is the same one that’s going to work tomorrow.  Today, brands have to find ways to participate in their customers’ stories.  They have to learn to share the brand narrative with customers.  That is a tectonic shift whose implications have just begun to surface in C-suite discussions and executive reading lists.

Sharing the narrative has many benefits.  (We’ve been listing them here for two years, check the archives for backstory.)  One of the big benefits is that narratives that result from collaboration with the customer energize a brand like nothing a brand can do on its own.  And thanks to the proliferation of media platforms, sharing the narrative has the potential to generate ‘positive unforeseen outcomes’ on a massive scale.

3)   Move from scripted to improvised narratives.  Shared narratives cannot be scripted, they have to be improvised into existence. There are too many players in the game to script for all of them, and make no mistake, each and every player plays a role. All it takes is one customer with a bitch and a big network to knock down your market cap like Bluto took out Popeye before he ate his spinach.  Improvisation is to narrative what spinach is to Popeye.  Scripted (and re-scripted and re-re-scripted) scenarios quickly fall out of sync with the customer audience.  Improvisation, by contrast, is about staying in the narrative flow. If you’re not in it, you’re out of it.  Eat your spinach!

Stories are the best way we have of simplifying complexity, of finding common ground.  They provide context that no technology or platform can. In a complex system, context owns.  Because business gets conducted in an environment that’s exponentially more complex today than it was yesterday, story is more important than ever.  But like everyone else does, we have to go about our work differently.  We’re not just storytellers, we are experts in the science of narrative.   We are Shawnee.  We are hot blondes armed with paddles and balls.   We are painters of dogs.PaintedDog1

To J.S.B., Who Lives It

Tuesday, November 20th, 2007

JSB 10

In the mythology of the Networked World, Xerox PARC was Camelot. And King Arthur was John Seely Brown.

Yesterday, my partner, Dr. Virginia Kuhn, and I saw ‘J.S.B.’ as he is widely known, speak at USC, where he is an Annenberg Fellow, about the conditions that led to the breakthrough work by the barefoot geeks at Xerox PARC (Palo Alto Research Center) from the 1970s through the 90s. Much of what he talked about had a familiar ring, and not just because PARC is legendary. Turns out their work, and their culture, were highly improvisational in nature. I grokked it like crazy. (more…)