Archives for category: National Trends

Heather L. Johnson’s work is up for a few more days at Kesting/Ray, one of the more exciting galleries in New York.

http://kestingray.com/2012/04/exhibitions-2012-johnson/?utm_source=KESTING+%2F+RAY+News&utm_campaign=f3636a1327-bushwick-open-studios_2012&utm_medium=email

The image shown is SPIN.  The whole show is embroidery on linen “…part-objects with a decidedly anthropomorphic cast…Here Johnson depicts the consecutive stages of action in a Wankel engine. Removed from their original frames of reference, however, the objects’ meaning multiplies: mechanical, celestial, and physiological systems are all evoked…”

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/

A few people have mentioned they want to know more  about what I actually DO.    I think they must mean my professional practice.   Okay…  I contract with organizations to help them improve communications.

In order to accomplish a lot and have a great time doing it, my clients and I use an Agile development framework.  This is rather a new application for Agile, and so part of the story is how we are linking up our discourse, mapping our cognitive terrain as we go along.  When approaching a nonprofit organization, for instance, here is some material I might put together for the Board.

Questions for nonprofit Boards in an age of increasing competition (first paragraph is excerpted from the article “Saving the Ship by Rocking the Boat,” Mario Morino, Nov 2011 – see leapofreason.org)

1. What conditions could change precipitously, endangering our mission and those we serve?  2. Within current constraints, what can we do to improve the outcomes of our programs?  3. What is our organization’s “baseline” budget for providing the minimum acceptable level of service to clients?  4. Who would be our “knight in shining armor” if we needed one?  In other words, who would we turn to if we were at risk of having to fold our tent? 5. What are the “one step away” opportunities?  In other words, how can we change our prospects by building off what we already know? 6. What can we do to strengthen our revenue base?  (perhaps tying back to the one-step-away opportunities.)

Many organizations today are choosing to adopt an adaptive planning approach. This differs from traditional strategic planning in that it does not assume that conditions will remain stable or predictable, but instead acknowledges a climate of uncertainty.  Adaptive planning draws on a set of entrepreneurial business principles known collectively as “lean,” or “Agile” management.  It has been used to great success in the start-up world, and is now being modeled for use in the public and nonprofit sectors.

Becoming Agile as an Organization 

Agile managers recognize that customers/clients cannot generally tell us point blank in advance what would delight them.  Entrepreneurial organizations must make assumptions and test them as quickly and efficiently as possible in order to gain understanding about community expectations and desires.

A nonprofit planning process based on this approach will acknowledge that conditions governing operation in five years or even two cannot be precisely known.  Energies are geared towards agreeing on a set of near-term priorities that a team can commit to achieving.

Workflow is organized in the form of a “sprint,”  (several of these may form a campaign, the traditional nonprofit development term).  The entire team is focused on completing its commitments, recognizing that some of the assumptions on which they are based will turn out to be wrong and will need correction.  Completed work is seen to be the best basis for making management decisions and for reporting about outcomes to funders.  Planning is costly, and even the most well-executed plan does not guarantee success.

To be Agile is to be reality-based, to think cross-functionally and to have accurate information guiding management decisions about whether to “pivot or perservere.”

An essential feature of the toolkit I am developing for Agile in the Arts is Organizational Storycraft   Compelling stories are developed and released about an organization in regular increments, with community feedback gathered and the most “tellable tales” retold to generate new levels of enthusiasm and engagement.  Development and marketing goals – in other words, fundraising and publicity – are pursued in an integrated way.

***

In March I began a Storycraft contract with a nonprofit organization operating  in Hartford, CT.   In our first Sprint we set out over eight weeks to craft a case statement, research new funding prospects, submit grant proposals and prepare for an annual appeal.

The development team was comprised of staff and Board members and key volunteers.  I served in the role of Scrum Master or coach, as well as writer.  The team reviewed in-progress documents regularly and gave feedback.  Week by week, as we moved closer to “done,” the interactions grew more frequent and more meaningful.

At our retrospective session the client made an interesting observation.  Working in Agile mode, not only were all the deliverables met on time and the organization better positioned from a fundraising standpoint, but “we can all talk more powerfully now about who we are and what we’re about.  We can see ourselves better.”

More details and reflections on this sprint will form the basis for this week’s TGIF chat, to be posted this coming Friday.

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.

“The challenge is making sure that everyone has a shared vision of what is being built and why throughout the development process. ”

http://www.projectsatwork.com

Yes, that is the challenge, isn’t it, for all our projects as thought workers? Not just accessing a vision, as in top-down “here’s the vision”-vision, but a shared vision.  In the ideas economy, it’s no longer enough to develop a product.  You are also in parallel developing the shared vision of the product and why it is being built.  In other words, you are producing a story about its cultural significance.

To get at shared vision, an organization has to invite probing questions and make it authentically safe to ask and answer them.  Here are some…

  • Who has input into what is being developed/built?
  • Do different types of stakeholders get to talk with one another?  Do they want to?
  • Do people get to see each other’s work and how it fits together?  Are they curious to want to?
  • Are people – including workers – invited to add their own meanings about what is significant to them personally about the product?
  • How often is it discussed why we are developing/making this thing?
  • What does “throughout” mean to us…daily, weekly, monthly, formally, informally, over coffee, at certain critical checkpoints, whenever we log-in, at different times according to their  functional schedules?  Does “throughout” have a beginning, middle and end?
  • How does this story get told?
  • How does it feel different to produce something that has cultural significance?
  • (How) do we recognize cultural significance as a part of quality?

This August I’m taking my two boys cross-country, stopping at organizations along the way to share and discuss Agile practices.   In our family, having a blast is never mutually exclusive with getting things done.   Quite the contrary!

Departing from New Haven on July 25, cities along our proposed route include: Portland, ME; Montreal; Ottowa; Minnesota/St. Paul; Helena, MN; Seattle; Portland, OR; San Francisco; Salt Lake City; Boulder; Kansas City; Chicago; Detroit; Buffalo/Toronto; and Saratoga Springs.

Please let me know of a manager I should look up,  or if you’d like to discuss materials to include on the memory sticks.  Linked In is the best way to get in touch.

Let’s see what grows from this rapid velocity, face-to-face exchange.   As our pediatrician once remarked, sometimes things are just so old school they’re innovative!

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!

The Center for Contemporary Culture in Barcelona has established a prize to recognize and promote  “public space that is at once public (open and universally accessible) and urban.”  In highlighting the “relational and civic aspects of the typically urban space, it differs from other initiatives that are focused on the figure of the architect, and from awards given for landscape-centred projects.”

http://www.publicspace.org

A recent discussions on the Technology in the Arts group on Linked In spurred me to explore links to a project called Rebel Cities.   It details recent work by a French sociologist building on Henri Lefebvre’s work on “the right to the city,” urban regeneration, and the shaping of social interaction through urban planning.

The topic of the discussion was “Are Virtual Worlds Dying or Evolving?”  started by Tessa Kinney-Johnson, COO & Founder of SpotOn3D in the Dallas/Ft. Worth area.   I told her I see virtual worlds evolving into powerful tools dedicated to creative problem-solving, with inputs for citizens to co-dream with local officials about the shaping of their places.   The gamification of urban planning makes good sense given the shortening loop between customer feedback and innovation in other spheres of development.

I also see artists lending their skills to the design of virtual model worlds so that people who do not see themselves as “creative” can still be participants rather than spectators in crafting the design and master narratives from which their urban world(s) are constructed.  The focus is urban – because the city, with its layers of shared meanings – is psychogeographic realm set apart, a distinct kind of human invention.

These virtual worlds would, in essence, become cognitive maps or “protozones.”   That, is urban zones-in-the-making that might  exist – and even become fully-realized – in psychogeographic terms first, not by planners, but by people who then hire the planners – who maybe then need to subcontract artists – to make them occur in actual fact.

http://www.geog.leeds.ac.uk/people/a.evans/psychogeog.html

The situationists dreamed of an urban life in which public spaces were injected with new life, enriched meanings, and unscripted social interactions through participatory play.    The group PublicShape is dedicated to Winston Churchill’s notion that “we shape our public spaces, therefore our public spaces shape us.”

http://www.facebook.com/pages/Publicshape/297062620349581

Welp, artists, gamers, citizens, planners…we can do that now!

The lesser-known academic discipline of Informatics is rapidly gaining relevance in the space between art and business.  It is essentially the study of how information is organized and distributed through human systems and so, in the bigger picture, how meaning can be captured and accessed through technology.

  • The Indiana University School of Informatics (BloomingtonIndianapolis and Southeast), defines Informatics as “the art, science and human dimensions of information technology” and “the study, application, and social consequences of technology.”
  • The University of California, Irvine Department of Informatics  defines Informatics as “the interdisciplinary study of the design, application, use and impact of information technology. The discipline of informatics is based on the recognition that the design of this technology is not solely a technical matter, but must focus on the relationship between the technology and its use in real-world settings. That is, informatics designs solutions in context, and takes into account the social, cultural and organizational settings in which computing and information technology will be used.”
  • The University of Michigan, Ann Arbor Informatics interdisciplinary major  defines Informatics as “the study of information and the ways information is used by and affects human beings and social systems.”

Seems to me there is a place where the business of conceptual art and the art of creative businesses start to look, project for project, as if they are undertaking parts of the same human enterprise.    How to make things mean things, to large groups of people, and then organize and disseminate those meanings in ways that continue to keep the meaning-makers and partakers engaged.   Hmmmmm……