Archives for category: International

An interview with Jesse Fewell, author of “Can You Hear Me Now?: Working with Remote Virtual and Distributed Teams”

 

 

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ES: I found reference to your book at the end of Mark Kilby’s wikinotes from Agile Alliance 2014.  He led a session called “Remotely Agile?”  I’m really honored you have time to speak about this. What is the main pain point common to all teams working remotely across the agile space?

 

JF: Preparation.  When you assume you’re set up and can just “hop on the call,” it becomes painfully obvious when you’re not.  We’ve all been there and not followed our own advice. It happens.

 

ES: That’s for sure…my computer overheated once and I had to use frozen pizza as an emergency cooling pad!

 

JF: Hah!  And then of course preparation means much more than gear, although the gear is important.  It’s also more than simply setting an agenda and booking a meeting in Outlook.  Preparation means asking ahead of time: what information needs to flow out of this meeting?  What are the pieces to be unlocked by the exchange?  How are we going to create a collaborative environment?

 

ES: It can be difficult to get anyone to focus on these questions in advance.  How do you do it?

 

JF: I find it helps to have a framework.

 

There’s Innovation Games  “Ideas into Action” model that invites us to choose a format based on the conversation we’re going to have.  There might be a portion of time set aside for ideation where we use sticky notes.  Then we do some shaping of the material, this might be in a shared GoogleDoc which we type  in and look at together.  Then there might be some prioritization which could involve an online poll.  You can actually map a conversation through these different platforms.

 

Innovation Games has taken the effort to productize some useful things for online work, including the Budget Game. The idea here is how do you decide in a consensus in a collaborative environment?  Everyone has monopoly money to spend, and they form alliances.

 

And check this out if you haven’t already: “We’ve Got to START Meeting Like This” by Dana Wright.

She says whenever there’s an event or a meeting, or say for instance an Agile ceremony, you follow this model:

  • Beforehand, anticipate.
  • During, use engagement techniques.
  • Afterward, think about how to extend the dynamics, momentum, the energy.

 

ES: That makes a lot of sense.  How can we equalize the dynamics on teams that have some members co-located and some remote?

 

JF: I like to have everyone dial in.  Whether you’re thirty feet apart or thousands of miles, it’s a great equalizer so everyone can virtually collaborate.

 

When Verizon Wireless wanted to bring different silos together into the product requirements phase setup, not everyone could fly in but they still wanted to be involved.   We achieved a collaborative dynamic with these people through a simulcast – virtual teams were established with a facilitator in the main room.  They broke out then had a debrief at the end with representatives from each virtual team.  It worked!

 

ES: Is there a set of meta-skills needed to arrive at protocols for how teams will operate virtually?

 

JF: Interesting question, facilitation is one.  When you’re face to face, the speaker owns the room. The audience gives the facilitator a huge amount of authority to set up the collaborative energy.  If he or she says, “Stand up and talk to the person next to you,” we do it.

 

In a virtual environment it’s much harder to rely on one single person to facilitate.  Everyone’s distractions are a lot closer at hand, and so everyone has to bring a commitment that “we’re going to make this work.”  Remote facilitation is about connecting people to their sense of purpose and reminding them why it matters.

 

The book Remote by 37 signals talks about this. Working remote is how they recruit the best talent, so getting it right is a badge of honor and a source of pride. You have to reseed that original emotional investment.

 

ES: Okay, facilitation.  Any other meta-skills?

 

JF: Because the peripheral senses are missing in an online environment, we can’t read each other as well.  So introspection becomes important.  We rely on everyone to be a little bit more self aware than usual.  Checking in needs to happen more frequently, not just at the beginning of  a meeting.

 

I’m actually going to be speaking more about this at my keynote at the PMI conference in St. Louis in October.  There is definitely a personal skillnet that is needed for individuals to help bridge the distance on teams.

 

ES: Well, thank you.  Let’s speak again after you give that talk and before I go off and tell stories about remote teamwork at Agile Tour London!

 

There will be a follow up conversation in October 2014.

______________________________________________________________________________

 

Jesse’s book is mentioned on this wiki from Agile Alliance 2014 http://www.agileorlando.com/wiki/doku.php?id=distributedrestrospectives

 

Jesse Fewell spoke with Big Visible about Learning and Engagement at Agile Alliance 2014

http://www.bigvisible.com/2014/07/jessie-fewell-breakthrough-learning-engagement-agile-2014/

 

You can download a free e-copy of Jesse’s book at his website here: http://jessefewell.com/

 

For more Stories of Remote Collaboration, see my article on InfoQ: http://www.infoq.com/articles/stories-collaboration-remote-teams


seaTea16

On December 16th Arts Interstices hosted a conversation via Google Hangouts among dance and theater improv artists and Agilists from various parts of the US.  The following is a briefing on some essential themes this cross-sector dialogue uncovered regarding the serious interest business is taking today in this art form.

“Yes, And…”

People feel threatened when choices are unduly restricted.  With a narrow set of options, positions become entrenched and even the simplest conversation become difficult.   Saying “Yes, And…” (rather than “Yes, but..”) is widely acknowledged to be the first guideline of improv.  Experienced practitioners emphasize building upon the contributions others have already made, creating an expanded sense of possibility.

“Make Your Partner Look Good”

Imagine going into a meeting with a bad set of nerves anticipating critical scrutiny.  Now imagine going in alongside a colleague, shifting your focus to a total dedication to making that person shine as the most brilliant mind on earth.    Sea Tea Improv recommends practicing this kind of mutual support as a way to instill trust quickly and powerfully.

“Suspend Disbelief”

Improvisational scenes progress iteratively.   Starting with mundane circumstances and then taking the audience along on a journey by adjusting their expectations step by step is conducive to fantastic results.

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“Mirroring”

One of the steps towards relaxing in a group is seeing oneself in others. That spark of recognition can be induced through the act of mirroring, used as an icebreaker in Annie Sailer’s movement exercises.

“Spatial Collaboration”

Knowledge workers have few conscious opportunities to read each other and respond nonverbally.  Even though these exchanges happen all the time at work, improvisational movement renders them intentional, slowing down the sequence of sensing, perceiving and choosing how to engage.

Just+at+Work+008Scrum Teams That Harmonize

Robie Wood led this workshop at the Paris Scrum gathering in September 2013 with his brother Jody Wood, a deeply experienced improv actor.  The description in the program reads: How can we positively charge and orient Scrum Team members toward effective participation in the conversations, activities and innovation necessary to deliver business value? Let’s get team members to Harmonize. To maintain team Harmony, we can draw on examples from the Arts where Harmony is sustained by using improvisation to adapt to changing complexity. The “Scrum Team that Harmonizes” workshop employs improvisation exercises from the Acting world that are designed to work on the specific skills needed by team members to perform effectively in each of the four types of Scrum Meetings.

Robie will host the next Hangout scheduled for later this month, and we’ll include international participants.   Further exchange will advance the dialogue and lay groundwork for intelligence-gathering and sharing of effective practices for how improv is being used today in business settings.   Practitioners can plug into this conversation by emailing artsinterstices@gmail.com or rwood@willshowvalue.com.

ADDITIONAL CONTACT INFORMATION

Sea Tea Improv http://seateaimprov.com/

Annie Sailer Dance Company http://anniesailer.com/d-a-n-c-e/statement

ShowVALUE http://www.linkedin.com/profile/view?id=15275730&locale=en_US&trk=tyah2&trkInfo=tas%3ARobie%20Woo%2Cidx%3A1-1-1

JW Actor’s Studio http://www.jwactorstudio.com/

This article is dedicated to my friends in the Agile community who have shown interest and curiosity in understanding the academic origins of the study of culture change.  The content is derived from my chosen field in college, Cultural Anthropology.  One of my favorite things is to help build cognitive maps across domains. – E. Slomba

The group of disciplines we know today as the social sciences emerged in the wake of the Industrial Revolution.  This increasing specialization was a response to the world’s increasing complexities.   Anthropology distinguished itself from the other branches of social science in two ways: first, by attempting to retain a comprehensive view of humankind and second, by an emphasis on empirical data.

Early Attempts at Explaining Cultural Differences

19th century scholars attempted to place the development of cultures within a set of evolutionary stages to tell “the” story of humankind.

“There is a psychic unity of mankind – a basic similarity of all human minds – in every land, in every culture,” Edward Burnett Tylor.

Tylor was the first to use statistical analysis in comparing cultures.  He initiated cross-cultural studies of commonly observed themes like marriage and inheritance.

“Technological inventions and discoveries alter society in a way so that new traits become necessary for survival,” Lewis Henry Morgan.

Morgan associated stages of evolution with particular technologies, and wrote about “successive arts.”  To him we owe a debt related to the concepts of disruption and innovation tracing back through generations of scholarship to his foundational work.

Data Gathering

Scholars during the early development of Cultural Anthropology focused on methodologies for ethnography and linguistics.

“Whenever we make judgements about good and bad cultures, we do so on the basis of certain overt or covert premises,” Franz Boas.

Boas was a staunch believer in the value of first-hand information.  He tore down previous contributions of “armchair anthropologists” and attacked viewpoints of certain races as being more or less evolved.

“Culture forms recognizable and persistent patterns,” Alfred Louis Kroeber.

Kroeber found examples of patterns in philosophy, music, literature and nationalism to suggest that genius tends to develop in cultural clusters.

“Borrowing is always easier than originating,” Robert H. Lowie.

For Lowie, cultural contact is an exchange of ideas.  He was interested in the ways different cultures mix and mingle, especially at their peripheries.

“I consider as my greatest accomplishment that I am an adopted member of the Comanche tribe, was accepted as a master carver by the Marquesan natives and executed commissions for them in their own art, am a member of the Native Church of North America (Peyote) according to Quapaw rite, became a properly accredited ambiasy nkazo (medicine man) in Madagascar and was even invited to join the Rotary Club of a middle western city.” Ralph Linton

Linton stressed that cultural factors were more important than biological ones in explaining differences among tribes.  He studied status and roles in class-based societies, with a main focus on the individual creating and reacting to cultural influences.

“Institutions are the vehicle through which specific influences are brought to bear on the growing individual.” Abram Kardiner

Kardiner emphasized the adaptations people choose in order to negotiate culture. His fieldwork gathered first-person biographies.

The next post will continue with Organizations & Reciprocity.  Meanwhile, THANKS for asking, Lisette.  I hope some of these points at least are helpful, and I’m glad we’re in the same tribe!

Lisette Sutherland is an expert on remote collaboration and community-building.  For more information about Lisette and her work, see happymelly.com & follow her on Twitter @lightling

RESOURCES

High Points in Anthropology

http://www.amazon.com/High-Points-Anthropology-Paul-Bohannan/dp/0075539772/ref=sr_1_sc_1?ie=UTF8&qid=1387076369&sr=8-1-spell&keywords=High+Ponts+in+Anthropology

Conformity and Conflict, Readings in Cultural Anthropology

http://www.amazon.com/Conformity-Conflict-Readings-Cultural-Anthropology/dp/0205234100

The Cultural Experience: Ethnography in Complex Society

https://kindle.amazon.com/work/the-cultural-experience-ethnography-complex/B000AI6HCW/1577663640

The Anthropology Network, an open LinkedIn Group

Anthropology and Design, an openLinkedIn Group

This article was originally posted in The Whiteboard, a blog serving Connecticut’s entrepreneurial community.  Michael Romano is the editor.  Read more Whiteboard articles here: http://newhiteboard.com/

Elinor Slomba is the founder of E. Slomba Arts Interstices as well as a Whiteboard Community Startup Journalist. In addition to covering the entrepreneurial ecosystem in Connecticut, she has written for The Whiteboard on the Scrum and Agile approaches to collaboration and project management. As a consultant and curator, one of her main concerns is bridging the worlds of art and business, helping artists be more entrepreneurial and businesses more artistic. The exhibition she recently curated, Navigate Complexity, is currently on view at The GroveThe work pictured above, from the exhibition, is “Nebulae #1,” by Jennifer Davies (handmade paper, string, 17” square).

13-007 Jennifer Davies

Monday evening, an exhibition I curated opened at the The Grove in New Haven, showcasing the work of 17 Connecticut-based artist-entrepreneurs and one timely business topic: Navigating Complexity.

The opening reception drew approximately 50 people from the arts and startup worlds, resulting in sales inquiries as well as rich conversation and invitations to participate in future shows.

The exhibition’s theme deliberately addresses a current obsession among the business world’s top-tier thought leaders. Indeed, this year’s Drucker Forum, which just concluded in Vienna, convened under the banner “Managing Complexity.”

The business world is finally catching on to what artists know every time they go into the studio. It isn’t viable to enter a change process with a well-defined plan and expect to follow it. Instead, creative leaders need to trust the emerging solution.

Startup Weekend New Haven Art

Judy Sirota Rosenthal’s “Unfinished Prayer” watches over a StartUp Weekend New Haven team burning the 9pm oil last weekend at The Grove.

As a curator and a connector of the arts and startup worlds, I hope to amplify the role that artists have to play as guideposts and model generators for what complexity theorist Esko Kilpi defines as “the science of uncertainty.”

I was introduced to Kilpi’s work this week by a publisher who was reading the introduction to the “Navigate Complexity” catalogue, a passage of which reads:

“Navigating complexity is all about patterns. Selectively reducing the data we absorb is an act of creative intention. The world has become a fiercely complex competition for headspace, so we must design criteria for engagement. The quality of the paths we find and the sense we make reflect not only trust in our relationships but also our orientation to uncertainty.”

In his 2012 essay titled “Complexity, Patterns, and Links,” Kilpi writes:

“Complexity refers to a pattern, a movement in time that is at the same time predictable and unpredictable, knowable and unknowable. Healthy, ordinary, everyday life is always complex, no matter what the situation is. There is absolutely no linearity in the world of human beings.”

13-007 Jennifer Davies

Jennifer Davies, Nebulae #2, handmade paper, string, 17” square

Helping people visualize new paradigms for organizational design is a service provided by visual artists like Jennifer Davies, whose “Nebulae” series graces the space where Independent Software works to help entrepreneurs build products and companies.

I see in Davies’s work the shift we are making from “the net” to “the mesh,” a concept put forward by author Lisa Gansky describing the way web-based businesses are advancing innovation through shareable goods. Says Gansky: “Every part is connected to every other part, and they move in tandem…. Mesh businesses are knotted to each other, and to the world, in myriad ways.”

Italian-born Giada Crispiels has installed ivy made from upcycled newspaper and magazine pages between the office of Big Bang, an industrial design firm, and a conference room. The effect adds organic energy and a touch of whimsy to the space.

Navigate Complexity may travel to other locations after February. A closing reception is planned for February 13th at The Grove.

As an artist who “paints in stone,”  Mark Krueger seeks to approach the cohesiveness found in nature, revealing clarity of geometric relationships among interconnected parts.  His chief concern is finding innovative ways to play with those relationships.  Krueger invites his collaborators  – area designers – to use onyx, marble, sandstone, and quartzite in dynamic ways to create order, surprise and delight in interior spaces.

Mark Krueger 17

“Stone has important things to tell us that have not yet been said.  It’s a much more versatile and expressive medium than people think.  I pay close attention to the technical properties as well as the aesthetic possibilities latent in the different kinds of stone, so I can help people unlock them and prepare to live with them.”

He boldly challenges the dichotomous categories of form versus function that keep many artists’ careers from progressing except on a one-sided track.  “Why can’t an artist’s work serve a dual function?  Why can’t it be both art and an armoire, art and an insert in a backsplash?” To suspend judgements about artistic purity can be liberating, in Krueger’s opinion.  “I feel happy knowing someone sees my artwork every day, that it is woven into their daily routines.  Art shouldn’t just be reserved for special occasions.”

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Mark Krueger’s studio is in Wallingford, Connecticut, and New Haven County is his home base.  The market for his high-end customized stone installations extends to Long Island, Manhattan, Westchester, and Fairfield County, Connecticut, where people often take great pride in their aesthetic displays.  Important sources for his materials are Onyx Stone in Woodbridge, Ele Mar Stone Distributors in New Haven and New York Stone in West Haven, CT.  He has also created an alter ego, Armando Bertoli, who represents his work in Europe: armandobertoli.com

In a world of pre-fabricated options, where creating an interior is often simply an exercise in multiple choice, Krueger says: “Make yourself available to the end users.  Lift the limitations.  Show them something more is possible.”  He wants to give people the confidence to be creative, and the assurance that each of his stone installations is the first and only one of its kind.

AB

Designers help provide continual feedback from customers and become true creative partners.  It is through the daunting work of listening between the lines for what people really want, what might surpass their expectations, prototyping, discussing and elaborating that Krueger stays inspired to inject artfulness into what has essentially remained a rather stagnantly commercial process over the decades.

Krueger’s installations are like murals, belying his roots as a painter.  The work is realized in two-and-a-half dimensions, highly customized and site-specific.  Subtle gradations in finish, from quite rough to a smooth polish, treat the light differently.  “Some day I’ll teach people how to do it. I’d love for other people to do it, but do it by hand.”

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Another innovative tactic he uses to push stone beyond sculpture and mosaic is to bond thin slices of it to glass with clear epoxy resin.  The results can be used in place of what might commonly be a freestanding glass enclosure, such as a shower door, and backlit to produce dramatic ambient effects.

“Those who choose to collaborate with me have access to a whole new palette.”  Onyx is especially suited, Krueger finds, to use as part of unique light fixtures.  Bonding a thin layer of onyx to another stone produces light variation in the underlying stone’s color.  “Shading in this way, if we need another shade of green than one we find normally occurs, we simply make it.  We can literally create new colors of stone.”

Yet, a world of infinite choice is not actually the end goal in our age of extreme complexity and uncertainty.  Krueger provokes collaborators to wonder together, “how do we thoughtfully eliminate information to make life more manageable?”  Arriving at the proper level of abstraction by bringing the information embedded in a project through several stages of reduction is, in his opinion, one of the most important design questions to resolve.  The solution is different each time, speaking to the needs, constraints and reference points that inspire each set of circumstances in which he works.

AB3

Krueger hopes in the future to take collaboration to a new level with other artists.  He notes, “on a nice, big residential project, we can create internal surfaces that have future flexibility.  One of the big unexplored spaces in homes is the ceiling.  In Europe, ceilings are really designed and thought through.  Stateside, you still see mostly white space.”

In place of this blank canvas, Krueger wants to create a system of panels which could be periodically replaced as an interchangeable design element.  An end user could have seasonal sets of ceiling panels, for instance, with different color schemes, or wish to highlight a particular thematic or design element from a particular part of the world.  “The idea is, you don’t have to live with it forever, but you don’t have to start from scratch when you want a change.”

“I want collaborating with me to be a fun form of creative expression, not overwhelming.”  To that end, Krueger invites members of the design community to have him speak about the medium of stone and its untapped capacities.  Images of work in various stages plus actual stone samples make for sensory rich, interactive experiences.  Email mark.krueger1@yahoo.com for scheduling.  You may also see him present live at Pechakucha New Haven on Wednesday, November 13 at Bentara Restaurant. http://pkn-newhaven.org/NextEvent

In the book Sleights of Mind, Macknik & Martinez-Conde make the point that professional illusionists are artists.  Their medium is not a deck of cards but rather skillful manipulation of human attention and cognition.

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The authors present a few lessons learned that can be useful outside of a magic show.  Distortions in how we process information tend to fall into certain predictable patterns.

  •  Illusionists often “divide and conquer” your supply of attention.   Relaxed, serial concentration is best for gaining situational awareness and making discerning observations.
  •  “Apparent exposure” is a kind of false transparency or plausible-sounding candor, such as revealing one trick (or mistake) so that another might go unnoticed.
  • “Good continuation” means resolving pieces that are missing according to what has been seen in the past.  The brain is always filling in blanks.   SPOILER ALERT: The old bent spoon trick relies on this feature of our innate computing equipment.
  • We spend more neural energy on differences than on similarities, so contrast is the fastest trigger for capturing attention.  (Think of how much more often in Lean circles we discuss pivoting versus needing to persevere!)
  • Tension often creates a false impression that purposeful action is taking place.
  • Framing is the ability to define the container for attention.    Often what’s actually pulling the story forward is happening outside the frame.

We all have many conflicting demands on our full attention.   Becoming more aware of the cognitive distortions this creates can help us understand and perhaps better account for human fallibility and the limits of perception.

LESSONS ARE FROM: Sleights of Mind: What the Neuroscience of Deception Reveals about our Everyday Perceptions, by Stephen Macknik & Susana Martinez-Conde http://www.amazon.com/Sleights-Mind-Neuroscience-Everyday-Deceptions/dp/0312611676/ref=sr_1_1?ie=UTF8&qid=1382352340&sr=8-1&keywords=sleights+of+mind

Special thanks to my friend Eric Mesh,  a Connecticut-based science writer and educator, for recommending this book!

You can also see this piece on the Self Management Institute blogroll at http://self-managementinstitute.org/

Over Labor Day weekend an extraordinary event took place in the world of self organized groups.  Philadelphia, the City of Brotherly Love, hosted the World Convention of one of the largest and most respected 12-Step recovery programs, known as Narcotics Anonymous.  Over 18,000 recovering addicts were in attendance, from over 100 countries.

journey

Twelve-step programs are a massive worldwide movement of various, self-organized groups  – each aligned to address a common, life-threatening problem (alcoholism, addiction, overeating, etc.).  Their power is based on face-to-face meetings in which people identify with one another and share openly and honestly on a regular basis.

This month, twenty years ago, I began studying Narcotics Anonymous as a participant observer for my senior thesis in Cultural Anthropology at the College of William and Mary.  Using Victor Turner’s ideas as a theoretical framework, I titled the thesis “Betwixt and Between: Communitas as Cure in the Lives of Recovering Addicts.”  I have been privileged to spend time sitting inside the circle at NA meetings, discovering how principles like “anonymity,” “humility,” and “surrender” make it possible for men and women whose lives had been controlled by drugs to live clean one day at a time, with each other’s help.

Organic openness is the essence of “Communitas” as outlined by Victor Turner (an underrated genius!  Please read his anthropology essays if you’re at all interested in contemporary organizational culture.  I have recommended them to many Agile coaches and colleagues working to improve the workplace.)

Examples of Communitas throughout history:

  • the monastic tradition established by St. Francis

  • women in Paris in the 1920s

  • performance artists in New York City in the 1970s (the scene fed by collaborations like Merce Cunningham/John Cage)

These groups stepped away from old forms and took for themselves the freedom to experiment with new ones.  Eventually, their ideas fed back into the mainstream where society as a whole could profit from them.  In the end, everyone had more creative options.

Narcotics Anonymous was founded in 1953 in California.  NA describes iteslf as “a global, community-based organization with a multi-lingual and multicultural membership.”   Its message, often referred to as the Promise of Freedom is: that any addict can stop using, lose the desire to use and find a new way to live. http://www.na.org/?ID=bulletins-bull25

This message – shared spontaneously in every meeting by members and read aloud from NA literature – is clear, consistent and reliable.  There is not one single culture for which the message is designed or in which it can be heard and understood.  There is unlimited potential in its simplicity.

Since NA has been fully self-supporting and growing worldwide as a multicultural phenomenon of Self-Organization for sixty years, perhaps we should listen to the wisdom it espouses.

The following is a GAME OF ASSOCIATION.  I start with a principle of Self-Organization, and follow it with a 12-step slogan from Narcotics Anonymous meetings.

Opting in.  “You are a member when you say you are.”

Collaboration.  “I can’t.  We can.”

Simplicity.  “KISS – keep it simple, stupid”

Continuous self-improvement: “Progress not perfection.”  “The journey continues.”

Incremental development. “It’s a process.”  “One step at a time.”

Faith in the emergent solution.  “Trust the process.”  “Act as if.”

Servant-leadership. “Our leaders are but trusted servants.  They do not govern.”

Persistence.  “Stay in the solution.” “Don’t give up five minutes before the miracle.”

In Narcotics Anonymous, the stakes are the highest possible: people’s lives.  In order to have credibility and be able to attract newcomers as well as retain experienced members, it is essential that the organization be able to deliver on its Promise of Freedom.

They cannot achieve this through coercion.  It is only through Self-Organization that recovering addicts have been able to adopt this program of change and incorporate its sustaining habits into their lives.

There is a joke in NA that goes “How many recovering addicts does it take to change a lightbulb?  None!  The lightbulb has to be willing to change itself.”

Therefore, based on everything I have learned in Cultural Anthropology and can offer the workplace improvement movement, culture is more like a liquid than a solid.   It cannot be effectively hacked.  Instead, it flows like a river, carrying various messages along in its fluidity.

Cultural change is driven by those considered to be outsiders or rebels, individuals driven by courage and/or desperation to admit that standard ways of doing things simply DO NOT WORK.   These individuals gravitate toward the margins of organized groups, the interstices, the spaces in-between.   There, they have a better chance of finding each other, learning from one another, and together, eventually, making creative contributions.

  • What is your Self-Organizing group’s primary purpose?  
  • How do its members gather and share this message?
  • Have they experienced enough pain to truly want to change?

For more background on Outsider Wisdom, Cultural Anthropology, Narrative Intelligence and finding the right creative metaphor to spirit forward your self-organizing transformations, please contact Elinor Slomba at artsinterstices@gmail.com.

unfinished prayerpurple240w

On the face of it, running a company with no human bosses sounds like an implausible fantasy or a short-lived experiment. For more than two decades, Doug Kirkpatrick, formerly of The Morning Star Company in Sacramento, California, has been arguing otherwise, stating the case for self-management as a viable alternative to the traditional, hierarchical organization.

Even for creative minds, this can be somewhat hard to visualize. The Industrial Revolution and its legacy of Taylorism have left us with the prevailing notion that organizations are shaped like pyramids, and that structure is set in stone. However, visionaries across many sectors are networking to amend this paradigm.

First, a few stats. Morning Star is the largest tomato processing operation in the world.  It transacts over $700 million per year and employs over 2,400 people (400 year-round). Its products, primarily industrial tomato paste and diced tomatoes, are ingredients in ketchup, taco sauce, spaghetti sauce, pizza sauce, steak sauce and a myriad of other products. Virtually every American has eaten Morning Star product. It also exports globally. It is a highly successful company. And it has no human bosses.

This growth has come about steadily since founder Chris Rufer purchased land for his newly-conceived Morning Star facility in the late 1980s. He had an interesting concept ready to incubate on his initial 500+ acres of dirt near the town of Los Banos, California.  He had acquired a great deal of business intelligence and was ready to apply it to the new start-up.

Doug, who started off as Morning Star Packing’s first financial controller, had worked with Chris before running another manufacturing company. As he tells it, “I’d put a stack of checks on his desk to sign, and Chris began asking all sorts of questions: ‘Is my judgment really required here?  Don’t these checks represent legal liabilities which simply must be taken care of, no ifs, ands or buts?  What value am I really adding to this process?’”

Chris’ takeaway was that management time and attention often appeared to contribute zero to the bottom line. The conclusion had dawned that hierarchical management might be an unnecessary cost.

In his new leadership role, the founder posed a whole new set of questions as his team brainstormed in a temporary trailer pitched on Morning Star’s construction site.  Assuming management is too costly to afford, how can we maintain ourselves as a company? Could a set of common principles, instead of managers, serve to guide us in day-to-day decision-making?

Two principles in particular, clicked together side-by-side, seemed to create their own internal logic and establish a commonly-understood basis for maintaining proper oversight and equilibrium in all of the company’s operations.  1. People should not use force or coercion against other people or their property.  2.  People should keep the commitments they make to others.

One of the time-tested mechanisms the company has used over the years to help people make clean agreements and stick to these principles is the Colleague Letter of Understanding, or “CLOU” (as in helping to solve a mystery!). Individuals draft CLOUs in order to come to shared understandings about their “portfolio of roles” within the company.  “Every individual in the company is treated as a professional,” Doug emphashizes.  “And everyone is allowed to learn new skills so that they can take on new roles. Job descriptions are only a starting point. They can always be negotiated.”

Decisions of all kinds, including capital investments, vendors and equipment maintenance belong to identified decision-makers, who agree to communicate and collaborate with relevant stakeholders. Morning Star wants to help individuals maintain their ability to get things done without going through layers of management or having to make a case up the chain of command.

“This sounds great, especially to someone who grew up in the sixties,“ says Debra Cash, a Boston-based organizational consultant.  “But what about things like regulatory compliance?”

According to Doug, those issues, while real, haven’t been daunting enough to compromise the company‘s self-managed stance.  “If we need to have 35 names on the OSHA (Occupational Safety and Health Association) certificate because of the principle of equivalency, that everyone is equally responsible for occupational safety, then we list 35 names on the certificate.  We want to be compliant, and we strive to fulfill all of our corporate and fiduciary responsibilities.”

However, it is also true that for Morning Star, “the terms ‘blue collar’ and ‘white collar’ have absolutely no meaning. We’ve paid serious legal fees to defend our self-management philosophy. Overall, self management works for us, as it can work for others. We wouldn’t have it any other way.”

Doug Kirkpatrick is now traveling worldwide and speaking on behalf of this extraordinary company, its story and self management principles. June will see him jetting off to Copenhagen, London and Denver to attempt to satisfy a recent explosion of interest.

Meanwhile, Inc.com just named Morning Star among the Top 25 Audacious Companies.  When asked if the label applies, Doug responds in characteristically down-to-earth fashion. “Now I want a dictionary to look up the word, but certainly, if it means being bold and innovative, then I wouldn’t contest that description.”

What’s changed in the environment that leads people to be more curious right now?  Doug cites three factors: global competition, the availability of live, liquid data and the lighting speed at which business must move to keep pace.

What advice would Doug give to start-ups in 2013?  “To the up-and-coming entrepreneurs, I would pose this invitation. Recognize the opportunity in your hands to start from scratch building a governance structure. Without explicitly considering the question while you’re still a blank slate, there’s a tendency to default to the pyramid.  There are alternatives. And from what we‘ve seen, there is no set of business circumstances, no industry which presents an inherent barrier to the viability of self-management as an operating structure.“

Of course, even among alternatives, there are alternatives. Dynamic Governance, AKA Sociocracy, is one formalized system catching on in the English speaking business world via the work of John Buck, who brought it from the Netherlands (see http://www.socionet.us). In selecting the right level of openness versus formality to suit a particular enterprise, Dan Mezick, author of The Culture Game, advises, “Make sure you ask the right question. Are you working for the structure, or is the structure working for you?”

Artists are thinking along parallel lines. Debbie Hesse, Program Coordinator at Connecticut’s Greater New Haven Arts Council, is interested in these alternative organizational structures. The Council’s Visual Artists Advisory Group discussed the topic Friday, May 17 at a newly expanded co-workspace on New Haven’s thriving Ninth Square, a state-designated hub of innovation (www.grovenewhaven.com).

Artist Judy Rosenthal, known mostly for her ethnographic photography documenting cultural identity in places like Bali, created the body of paintings like the one above while thinking about what is common to all human systems. In her view, “Every individual entering a group does best asking: ‘What am I bringing to this circle?  What can I contribute?’”

Among the best places to step into a circle of professionals from many sectors who espouse self-management principles is the annual Symposium sponsored by the Morning Star Self-Management Institute. This year’s symposium took place on Sunday, June 2nd through Tuesday, June 4th in Sacramento, California, and featured participants from across the United States, Russia, China, Brazil, Australia and Canada. Information about the symposium can be found at http://self-managementinstitute.org/symposia/.

This year’s speakers focused on the networked organization as a source of discovery and innovation. Gabe Fasolino facilitated a half-day Open Space retreat for practitioners to explore how such insights apply to their respective leadership and organizational plans.

Since 2008, Morning Star has maintained a community of practice known as the Self-Management Institute. Its mission is to develop superior principles and systems of organizing people, and to promulgate those principles and systems in the minds of client colleagues.

Documents and data from the Morning Star Self-Management Institute are available to artists who wish to explore these ideas further.  One goal is to develop an art exhibition delving into alternative organizational structures impacting today’s workplace.  Interested artists may contact E. Slomba at artsinterstices@gmail.com and review source materials at http://self-managementinstitute.org/about-us/ .

MANY THANKS to Doug Kirkpatrick for the generous interview he gave by phone on May 8, 2013 from his home base in Sacramento, California.

Today for Monday/Collaborate, Artbux interviews Stefanie Lynx Weber, an action-based artist based in Pittsfield, MA who specializes in dance, movement and performance.

hooping_1

Stefanie is presently developing with collaborating artist Monika Pizzichemi, They Dance For Rain which is an on-going Tap Dance (and Hoop Dance) project in Nairobi, Kenya. Exhibitions of photo work from the project (see above) are slated for various Tap Festivals through the US.

We spoke about an article The Washington Post published in August 2012 claiming that dance is the most successful category on Kickstarter.

http://www.washingtonpost.com/lifestyle/style/kickstarter-for-dance-choreographers-could-be-a-gold-mine/2012/08/23/62329816-ea6c-11e1-a80b-9f898562d010_story.html

AB: What experience do you have using Kickstarter for dance?

SLW: I have used Kickstarter for dance projects twice. The first campaign was to complete a 50-minute live performance piece, habitat (de)fragmentation, and be able to pay the performers for the many hours of rehearsal time needed in order to make something ready for a premiere. I also needed some funding for costumes, props, and video editing. I made it a little beyond my goal of about $2000 with much help from my community and many hours plugging away at it. The second time I used Kickstarter was for bringing that same piece eight months later to the Philadelphia Fringe Festival. I needed to cover expenses of travel, hotels, and performance fees. I reached that goal as well.

I also did two more crowd-funding campaigns on another site, Indiegogo, for my dance project They Dance For Rain in Nairobi, Kenya. (For more info on this and other current projects, please visit Stefanie’s blog: http://fertileuniverse.com/about )

AB: What skills do dance artists practice all the time that might make them more successful than others in this space..?

SLW: There are three things that come to mind. One is that dance artists are often not strangers to taking risks. Launching an online campaign to raise money for your vision as an artist is risky business. To those of us used to falling on the floor and getting back up it becomes just another necessary part of the process.

The next thing that comes to mind is that dancers are used to grinding away at something till it flows. Practicing something over and over. Finding what is working and what is not. Crowd-funding can be a grueling and time-consuming process. Again, we are used to trying again and again to get something just right. And that is what you have to do with something like Kickstarter. You have to show up everyday and be willing to try another way to reach that next person.

Most importantly, many dance artists have to be able to really connect and reach others in order to make their work.  If you have other performers in your work, you find out quickly what makes this a different situation from other art forms. Paint does not talk back or have children to feed or need health insurance. Clay is not injured and then not available for 2 weeks or more. I think that dance artists, especially individually-based ones, develop an empathy, understanding and deep view into the human condition make it easier to reach out to others.  This makes it more likely that you would even try something like Kickstarter because you have to really appeal to your audience for their support.

nairobi

You have to create an audience, not only a dance. You have to understand that most people funding you through Kickstarter are going to be people you know, or people they know, and so being connected to them as humans and not just a profile on a screen or a hand with money is invaluable. Most of the people that donated to my campaigns were people who not only believed in my ability to do the work, but worked hard for their living also and saw themselves as becoming a part of the creative process.

Generally speaking, dance artists already have the skills needed to bring people together to make something unique happen.

AB: Does word that dance kicks butt on Kickstarter seem like “news” to you? Why or why not?

SLW: I have not done a lot searching around on Kickstarter so I was not aware of what is working and what is not. I did see a lot of videos, movies, and film-type campaigns being featured often when I was using Kickstarter. I am not surprised at all that individual dance artists (especially), companies and organizations would use a source like this and be successful at it.

Dance is not generally funded broadly and dance artists often use other people to make their art. People need to be paid for their time, skill and energy.  And today’s dance artists are often on the edge, coming up with new perspectives and ways to say something that needs to said. Much of this goes over the heads of larger funding sources or doesn’t fit into their antiquated and limiting funding structures.  Also, dance artists often don’t want or have the ability to wait for long grant cycles, gain “permission” to carry on, or cater their work to a theme or criteria that does not really support their unique or complex process and vision.

Platforms like Kickstarter give more power and visibility to the many kinds of dance-making processes that exist. Dance art is cutting edge because it always involves bodies. Bodies are and always have been radical forms of expression. It’s nice to hear that individual dance artists (especially) are getting what they need from this community-based source because they certainly are not getting it from any corporate, government or nationally structured funding source. Maybe Kickstarter is helping to make the value of this need in our culture more visible.

AB: What message would you like people to take away from the article?

SLW: Sources like Kickstarter (and Indiegogo, etc) are making it possible for dance artists to bypass the worn out roads to funding their valuable and unique visions by providing a concise template and well-organized platform for reaching out and finding financial support. Dance artists therefore have more of an opportunity to successfully blaze their own trails. This is not a walk in the park, it is hard work! Most dance artists who are actively and consistently putting work out are used to that and will step up to the plate.

MORE BIO ON STEFANIE:

Stefanie Weber has worked with many organizations: Jacob’s Pillow Dance Festival, Barrington Stage Company, Berkshire Opera Company, Simon’s Rock, Williams College, Berkshire Community College, Terpsichore Dance Studio, Lenox Community Center, Hudsons’ Operation Unite, East Harlem Union Settlement Association,  Somerville’s ArtBeat, and Cambridge River Festival; as an artist, educator, performer, or choreographer.  Presently she is on faculty with Community Access to the Arts, Berkshire Dance Theater, and Kinesphere Movement Arts Studio.

Stefanie is the founder and artistic director of the Creatures Of Habitat Physical Poetry Public Performance Project and Pittsfield City Hoopla. She is a performer and co-director of the performance ensemble Silver Swimmers (USA) , was in the Commonwealth Tap Collective based in Boston and is a performer with Nutshell Playhouse. A dancer with Caryn Heilman’s LiquidBody Dance for six years, Stefanie immersed herself in the the work of movement pioneer Emily Conrad. She collaborates frequently with various local and international artists, musicians and community development enthusiasts. Her work and development has been supported by the Massachusetts Cultural Council.

Stefanie is a certified Gyrotonic instructor, former Americorps Member, graduate of UMASS Amherst with a degree in Environmental Sciences (focus on toxicology), and has taken artistic residency with The Storefront Artist Project (02-06) and Dana Bixby Architecture (07).  She is a former board member of Topia Arts Center in Adams, MA.

In Spring of 2007, Stefanie was recognized as a “Young Woman Moving the Berkshires Forward” by the Berkshire Eagle newspaper and awarded certificate as an asset to the community by State Senator Benjamin Downing.

The image below is included not because anyone paid for it, but because it is directly relevant to the Story.  And, okay, the colors match!

picture Etsy

The other day The New York Times speculated that “hundreds of visitors in expensive suits will rush in a stampede elbowing each other like soccer fans to get in ahead of the competition” in the Netherlands this weekend at the 26th European Art Fair.

http://www.nytimes.com/2013/03/09/arts/In-Maastricht-the-Trump-Card-of-Art-Fairs.html?pagewanted=all&_r=1&goback=%2Egde_41332_member_221612094&

Ummm…is that a bad thing?

Business models are always needing to change and adapt.  The business model of the big art auction houses – the main source of Old Master paintings in past decades – has been disrupted.  And so, now in comes the “Art Fair” as the trending replacement model.

It is interesting to note that part of the value proposition of the auction houses was their function as imprimatur.  In most other sectors of the broader culture, the role of “Tastemaker” has waned as the crowd wants direct access to participatory experience, not spectacle.  The traditional art auction is indeed just that: Spectacle with a capital “SP – ECTACLE.”

The very word “fair,” on the other hand, albeit in English, connotes a sense of egalitarian access, a flattening of hierarchies.  The opportunity to leap over the gatekeeper and directly sense what is appealing is, in effect, a powerful chance to curate one’s own gaze.   The opportunity for a more considered negotiation process helps would-be collectors gather intelligence to match up with and learn about their own instincts.  This process of developing embodied knowledge on an individual basis is part and parcel of participatory experience.

Do we want hordes of art collectors honing their own sense of what is worthwhile to look at and purchase, irrespective of those topheavy auction houses that used to control the art market?

Ummm…what do you think?!

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