Archives for category: Insights from Leaders

With provisional space, repurposing and the growing popularity of the “charm bracelet” approach (diverse cultural groups branded together as one district or neighborhood), how do we think and talk about, much less pay for, the iconic showcase-spaces that drive civic PR and tourism?  Here are two relevant and thought-provoking articles:

A sobering piece in the New York Times about building expansions, cultural capacity, and Board members with misplaced enthusiasm: http://www.nytimes.com/2012/06/28/arts/design/study-shows-expansion-can-be-unhealthy-for-arts-groups.html?_r=3

Best read alongside this, for a pick-me-up afterwards:

20 Most Beautiful  Museums in the World, from Flavorwire.    http://www.flavorwire.com/306801/the-20-most-beautiful-museums-in-the-world/comment-page-1#comment-148357

In my opinion, they should have listed 21, with MASSMoCA added to make blackjack!

 

A former Sprague Electric Company plant, the flat-out droolworthy contemporary art museum in the Berkshires (http://www.massmoca.org/ in North Adams, MA) is thriving, and might offer a few clues to arts groups looking apply others’ lessons and avoid some of the pitfalls:

  • hybridize – old plus new; visual plus performing; art plus technology; science plus humanities.  Creativity is less about invention and more about recombining, so should its containers be!   This is the big limitation of feasibility studies – the holy grail of capital campaigns.  If several others have already done something successfully, chances are you’ll need to put a new twist on it to succeed.  It’s hard to quantify vision, but there’s also no substitute for it and no single discipline, art form or perspective that’s going to compel its narrative forward in isolation.  Build and/or expand accordingly.
  • generalize – niches are nice, but don’t make yours too narrow.  Propose eclectic contents for your container so people will wonder what happens next!  Make sure more purposes are possible in a given space than you ever even imagined at the start.
  • localize – if your proposed architectural project could be somewhere else in the world other than where you’re putting it and still make sense, don’t do it!  Buildings should be indigenous to their surroundings, reinforce their places, and story their communities.

Above all, let’s consider and embrace the notion than everyone is allowed to have an opinion about what makes space important, appealing and interesting, and what spatial alterations and innovations their communities actually need to express cultural vibrancy.   Models, maps and prototypes – tents, carts and flashmobs – might just be the kinds of shrines and palaces that fit these times the best.

Meanwhile City Wide Open Studios is coming up in October 2012 in New Haven, CT – three weekends of feasting on an eclectic free range of art spaces turned inside-out, all invitational-like.  This year is the first to have a theme – Crystal for the event’s 15th Anniversary – making the entire urban area a kind of composite, crowdsourced glittering art palace.   http://www.cwos.org/

 

 

 

Good storytelling is central to leadership.   “A story is the best way to economically communicate understanding and wisdom as well as to nurture passion and motivation.”

http://www.gantthead.com/article.cfm?ID=273851

In the spirit of alliance-building, it is worthwhile for nonprofit managers to see what IT managers are reading and thinking about these days.   Here is some external validation about the central importance of narrative to leading a team.

“Team members on the agile project are typically pressed to stretch limits and proceed where the environment is ambiguous. As such, the team needs guidance on principles and values to shape the way forward and to help them push through challenges.”   That’s where story comes in.

Generally speaking, and safe bet this is true in your neighborhood, the pretty flippingest cool stuff happens in garages.

Natulis ArtTemporary invites us to recap this historical cultural trend as they put out an open call for free studio space this August in a former car repair shop in Berlin, Germany:

  • Bands from The Clash to Iggy Pop and Mc5
  • Bill’s early Microsoft experiments
  • Chelsea district art galleries

http://natberlin.com/garage-art-about/

True, the liminal space of a garage is irresistable.  You can try things out in the garage that you could never get away with in the house, even in the basement.   It is space that feels set apart, where one can experiment and suspend cultural notions about what is safe, what is allowed and what people do.   Everywhere, there are local, national and international heroes garaging it old school while keeping it innovative.   Samples from my personal ‘chive? – Ta-DA:

S.L.A.M  (Streb’s Lab for Action Mechanics) 5,000 squ. ft at 51 N. 1st St. in Williamsburg, Brooklyn http://www.streb.org/V2/space/index.html

Biopunk scientists hacking genomes around MIT (ever hear of glow-in-the-dark squid?) http://bostonbiotechwatch.com/2011/04/14/hacking-ourselves-%E2%80%9Cbiopunk-diy-scientists-hack-the-software-of-life%E2%80%9D-by-marcus-wohlsen/

And of course there’s West Haven, Connecticut.   In a backyard garage on Savin Avenue, a horse and carriage are kept in circulation, you see them cruising around town.  And in a more industrial setting, 14 Gilbert St. hosts  a long-term affair between sculptor and sculptures in the studio of Guggenheim award-winner Robert Taplin.

http://roberttaplin.com/pdf/art_new_england_nov_dec_2010.pdf

Do you know what interesting ideas are taking shape in some of the garages near you?  Believe me, it’s worth investigating.   Welcome these incubators into your midst, even or especially if it is unclear what’s being spawned.  And on August 30, if you’re anywhere near Berlin, enjoy the party at  Scharnhorststraße 32 celebrating nine artists who have made “ephemeral, time sensitive art at tremendous growth rate” in their provisioned spaces for  Garage Art 2012.

Creative minds coalescing around city halls nationally to solve urban problems with public data:

http://www.motherjones.com/media/2012/05/code-for-america-jen-pahlka-interview

Because, in the words of founder Jen Pahika, “You can care about your city in a way that’s hard to care about the bigger levels of government. And cities everywhere are going through this enormous financial crisis…It’s in your face, and this crisis is creating the political will to push through new approaches.”  I will be checking out city halls while playing Johnny Agile-seed on tour this August.

MANY THANKS to Emily Wolfe for making me aware of Jen’s great work.   It’s not all about code, there’s a real human aspect to it as well.   Lots of face-to-face, lots of nuance…good to see, and let’s see more!

http://codeforamerica.org/

Some people just have it in their DNA to not be limited.    That was one of the takeaways from the Transcending Borders conference in Salzburg, accessible via National Endowment for the Arts webcast on 6/12/2012.  In the quest for knowledge, one size  – i.e.,  one field or place or discipline – definitely does not fit all.  The provocateur naturally seeks to zigzag across borders, to hang out at their interstices, and find ways to connect things, people, places, cultures and enterprises that, to the unambitious, may seem like exercise in the impossible.

ZERO1 in San Jose, CA- aka where art meets technology to shape the future – is a case in point.  The organization sees itself as a broker to create new platforms that give rise to new forms of creativity.  One of the objectives this baby of Silicon Valley has in mind is putting a face on the postmodern city.  http://www.zero1.org/

The Ars Electronica Futurelab in Linz stretches the potential of the internet’s use as a creative space for artistic collaborations.  I like the way their ZeitRaum project presents dynamic, visual representations of open data as public art in transit areas:  http://www.aec.at/press/en/category/futurelab/

Choreographer Liz Lerman responds to the myth of individual genius by stressing how much of creativity is about managing relationships.  http://danceexchange.org/about/company/liz-lerman/  Artists and collaborators should be given the utmost respect while organizational knowledge is deployed in their support.

Interdisciplinarity is the necessary basis to collide different minds, and the provocateur’s job is to keep the collisions going more than once, to make pathways for deep access.   This requires a LOT of three things:

  • translation
  • contextualization
  • support

How can you tell if you share the ambition of provocateurs?  You live and work – and give – by this motto:   Do what you think is next.

I wanted to provide a quick way to reference “The Artistic Dividend: The Arts’ Hidden Contributions to Regional Development”  By Ann Markusen and David King out of the University of Minnesota.  In section eight (Artists’ View of Themselves as Economic Actors), the researchers took an “occupational approach, centered on understanding the economic aspirations and experiences of individual artists through interviews, [which] uncovered a significant number of cases where artists are successfully generating a satisfactory income by working entrepreneurially, often aided by an extensive network of advice and contacts with others in the region. Many do so without sacrificing quality and creative integrity. ”

http://www.hhh.umn.edu/img/assets/6158/artistic_dividend.pdf

However, many artists, even successful grant-winning artists, still do not think of what they do as economic activity!  The report finds that they might do well to engage in entrepreneurial skill-building and overcome tendencies to think negatively about marketing their work.

Agile (which can be summed up as a team-based technology for approaching high-value business projects at high velocity in climates of dynamic uncertainty) is such an effective way to prioritize administrative tasks and achieve business objectives – I recommend it to any artist seeking to leverage time spent on “the business end of things.”   Training and coaching discourses around Agile are still very much grounded in the world of software development, now spreading to other, related domains – see http://www.scrumalliance.org.  I am working on translating the essence of Agile into an arts-friendly language…collaborators WELCOME!  I hope that this will unlock new partnerships between the arts and start-up worlds and re-interest / reinvest nonprofit arts supporters in  the core administrative operations of organizations, which can be creative and innovative in their own right.

Planning to visit Minneapolis/St. Paul in August.  Please contact me (artsinterstices@gmail.com) about other arts organizations and/or start-up companies I should visit on my northern trip cross-country.    Special thanks to arts reporter Judith H. Dobrzynski.

http://www.artsjournal.com/realcleararts/2012/05/enlightened-minnesota-stages-a-museums-month.html?goback=%2Egde_2487594_member_121293144

Must interrupt regularly scheduled TGIF interview about the recent nonprofit development sprint to bring you the following, just published by Mind Edge, learning in innovation (based in Waltham, Mass).

Cheers, and make sure your weekend ROCKS!

http://projectmanagement.atwork-network.com/2012/05/18/qa-elinor-buxton-slomba-on-the-art-of-agile/

Devin Hedge is an Agile Coach with Big Visible Solutions, and is now coaching one of the largest financial management firms in Raleigh-Durham.  He agreed to be interviewed for “TGIF,” our Friday custom of seeking out choice bits of thought exchange.  MANY THANKS to Devin, who can be reached through his website (www.devinhedge.com) for feedback or inquiries.

AB:  So we’re speaking today about working environments  in which the impetus for adopting Agile does not come from the top down.   Have you witnessed this phenomenon of Stealth Agile?

DH:  I would say 99% of the impetus for adopting Agile is grassroots.  A small team within a software development or IT shop is fed up with bureaucracy and the typical way things get done, or rather don’t get done.  Agile compelled me in this way, that’s where I started.  Going back to 1997, all the Agile teams I worked on, they were all stealth.   We dumped the traditional project plans, we dumped the Gant charts.  We looked around for other models.

I was working in the European telecommunications industry, in which many countries were just starting to transition to free markets, it was scary for them, times were uncertain and we needed to be able to deliver value quickly.  [DBH] I started as a staff developer but quickly became a Team Lead once they realized that I had a leadership background as an Army Officer. I started looking around for all sorts of ways to turn a chaotic situation into delivering what our business partners wanted.

I had learned about doing stand-ups from an article in a pop-management magazine about lessons to be learned from a Navy boat commander.   He would have stand up briefings at the beginning of the day.  This got everyone focused on the same things.  The article pointed out that the Command and Information Center had big visible charts all over the place. It put all of the  work happening on the right out in front of the whole team.  The Navy has been that way for years, whether you’re on a destroyer or a frigate or an aircraft carrier, there are big glass walls where they would put everything.  That way the commander or captain could – at a glance – gain complete situational awareness. It was also a way for each of the officers to hold each other accountable for getting things done.

This really resonated with me because as an Army NCO and later as a young Officer, I spent time supporting a lot of elite forces. There was a team dynamic there that I was going for. I knew these kind of teams could exist and be highly productive because I had seen them in our government. These were self-contained teams, close knit and cross-functional. When I applied the same principles to software development teams, it all just clicked.

I started having standups, set up the big charts on the wall and then asked, “What we could show after one week?” By the end of one week we were able to turn a prototype back to the customer and ask for feedback.  We didn’t get much sleep, but we were wildly successful. If kinda snowballed from there once the customer was able to see and touch the software early on. After that,  I was asked to be a the project manager for 30 guys and gals on a one month sprint.  After that, it was a distributed team, spanning the UK, Australia and India.

As a Project Manager, I started to have a cult following.  This was not because I walk on water (obviously!) but because, when you put people at the center of the process, everything works.

AB: What is it about Agile that attracts workers on a stealth basis?

DH: Quality stays right out front the whole time.  Good quality assurance programs try to harmonize the fact that you can meet every specification, but if the market rejects it, the product isn’t good.  We know that having two truckloads of documentation at the end of a process is not actually proof that a product was good.

One thing about quality, it’s in the eye of the beholder, just like beauty.  Many quality implementation frameworks end up transforming something that was well-meaning into a check-the-box exercise instead of actually looking at the product.  It should be more like an art critique.  Agile just does that naturally, through tight feedback loops.

Most small teams like Agile because it fires up people’s creative juices.  We are not robots; we are not here to do the same repetitive task over and over.  We are here to do a unique task that is highly nuanced – singularly unique every time – based on human experience.  That’s why Agile is so appealing to knowledge workers who should have been hired for creativity, for situations in which what is required is kind of fuzzy.  It enables the human potential within them to come out, expressing the intrinsic value of work.

Agile has all sorts of built-in reward systems.  Computers give us interesting puzzles to figure out.  The problem is, if you’re the only person who plays with the puzzle it’s not that rewarding.   Someone else recognizing what you went through to produce that product is a self-reinforcing reward system.  Agile recognizes people’s mastery.

AB: What happens when a Stealth Agile team tries to scale up?

DH: A couple things.  When you first start adopting Agile outside the initial hive, we often see “teams” that aren’t acting like cross-functional, self-organized, empowered teams. Instead we find groups of individuals. Part of this is the Gulture Culture of celebrating being an Introvert. Nothing wrong with that. However, we need teams. So, the Introverts who aren’t used to collaborating very well might resist getting dragged into a team. Usually the objections aren’t real objections, they’re expressing insecurity about some facet of the process. Takes a little digging to figure out what’s really going on. A command-and-control culture might say that the person has “issues” or “lack of skills,” expressing a judgmental attitude.  That is rarely true. Often the situation is that the Leadership Style being employed just hasn’t found the right way to motivate the person. In Agile we take the time because people are more important than process.

Also, to scale out of being Stealth, you have to create an environment where it is safe to fail.  I’m not talking big failures, but lots of little ones that don’t cause any real harm, the kind people actually learn a lot from.  Christiansen in the Innovators’ DNA talks about how safe environments help workers connect their synapses by asking probing questions, personal networking with others, and taking time to observe in and out of the company.

In Stealth mode, it is easy to create this environment. You’re in an isolated bubble. At some point, Stealth Agile starts to gain what I call “viral velocity” and the team hits a wall when it can no longer be stealth. You have to explain why you’re not doing such and such documentation of where you have failed forward as a learning opportunity and someone just sees it as failure.  Generally there’s someone in middle or upper management who just doesn’t understand. This really isn’t because of process or policy. It is because the culture inside the Stealth Agile team is so different from the larger organization around it.

So you have to find your champion and your change agent.  We’ve found that having a group of at least four people, two supportive people at two different levels in the company, is a critical factor for getting past this culture shock to the organization. There is real Brain Science at play in the way people will resist the Stealth Agile team joining the rest of the organization.  The basal ganglia part of the brain is always searching for pattern recognition.  A response to the new and unfamiliar can override reason because it triggers flight or fight.  In situations where you’re trying to expand out of a Stealth Agile team, the rest of the organization doesn’t have a “pattern match”, so the champion and change agent have to create the experience, the pattern match, that helps click pieces into place horizontally and vertically through the organization in order for the new culture to stick.

The message from the Stealth Agile team to the rest of the company should be two-fold.  First, they should communicate the story of their pattern of responding and adapting to rapidly changing business needs.  The strength of the feedback loop created through close customer collaboration creates a narrative all by itself which then becomes compelling to the champion and change agent and gets retold.

The second part is management seeing the potential for what happens if the company embraces Agile outright.   At a very personal level, you have to activate the senses of management: desire gets triggered and then fulfilled just the way it does in a user story.

There is a hitch to all of this. There have to be structures for fulfillment around the Stealth Agile team or group or department otherwise there’s no survival at scale.  So you have to create a lot of buzz  around how much return on investment you’re going to get by being able to adapt and quickly respond to changing business needs, to ensure that the requisite structures are in place to be successful.

It’s management’s job to push, see how hard they can push people. That’s their job. It’s how they do that in the culture that matters.  There’s a directing style of leadership and a servant or motivating style of leadership.  The latter recognizes that people aren’t typically motivated by someone dictating policies.  Stealth Agile teams need to trigger a larger desire within the company for a different way of working and then fulfill that desire.

It appears that “getting to be human again”* tops the list of intrinsic rewards for working in an Agile way.  Putting people at the center instead of the usual – process at the center – enables the creation of platforms for visibility so experts can practice more of what Fast Company columnist Scott Anthony calls  “associational thinking,” that is, the ability to make surprising connections.  Inviting people to step up onto this platform so their work can be better seen and they can claim a more effective vantage point from which to see the work of others is key to the Agile mindset and workspace.  In fact, in the Agile framework the workspace reflects the mindset, and vice versa.

I’ve written before about the concept of unrepeatability, but yesterday in conversation something clicked.  Every task to which today’s knowledge workers apply themselves truly is, in essence, unrepeatable.  There will never be an exact set of problems like the one you’re facing today.  Documenting the story of how you define, approach and tackle this unique set of circumstances, not by checking boxes on a form but by setting up transparency so that the narrative is evident to all stakeholders creates a culture of shared meanings.

The freedom to follow an idea from concept to prototype and then improve upon it in a close-knit group is the natural high of innovation.  Access to a tribe of people who either contributed with you to solving commonly-identified problems and/or understands the effort that it took to study and innovate and make an attempt is the trade-off when you give up working in a silo.

The opportunity to create – and partake in – culture as we work is the opportunity to heal from the Industrial Revolution.   I see that Agile is, at its core and throughout its DNA, artfully human, and I am glad.

*More on this coming in an interview on Stealth Agile with Devin Hedge of Big Visible Solutions – stay tuned Friday for TGIF!

I was introduced to this project at the Agile Games.    Thirty minutes later, I was speaking whole sentences and engaging in Q&A with other group members in Gaelic, the language of my ancestors from the coast of Galway Bay.    INCREDIBLE!!

The more languages we learn, the better to communicate with one another and keep up our respective corners of the noosphere – the combined knowledge we all hold on this planet.

http://www.languagehunters.org/

More information also available on the Agile Games website:  http://www.agilegames2012.com/.