Sometimes you just need to get a new perspective on things. One of the comments on this thread asks “what does looking at it upside accomplish?” The answer is, who knows until you actually do it? Learning to see the world differently means that you have to exercise different muscles and ACTUALLY look at things differently in order to learn what comes from that.
(h/t to Ciaran Camman for the link)
This quote from Richard Rohr, is one of the core principles of the Center for Action and Contemplation.
Humans tend to live themselves into new ways of thinking more than think themselves into new ways of living.
It is also good complexity praxis, good leadership practice and good pedagogy.
I was on a coaching call this morning where this came up too, listening to a team I am working with describe the trap we often find ourselves in as consultants, tempted to provide the new things a group should be doing, often in the form of recommendations or lists of actions and projects to be managed. The idea is that we often try to get folks to learn and be different and then generate projects or plans that they can execute.
And that is not a good way to do it in emergent, complex and dynamic environments. If I want to learn to think differently I need to put myself in situations where the constraints afford me different possibilities to act differently. For example, I am currently learning to play jazz and I am currently without a teacher meaning that I am relying on lots of online resources to help guide me. The danger with this is that I can just learn how to play licks and lines and chord progressions or scale exercises based on what someone else is doing. This is not really making music, but rather making sounds. If I’m not careful all I will learn to do is ape teachers, master exercises or imitate recordings and that’s not why I want to learn jazz. I want to learn jazz to be able to express myself differently on guitar and for a myriad of other reasons that I play music.
Like any language, jazz has a grammar and a vocabulary. The grammar is the harmonic and melodic theory that underpins the style of music, some of which is shared with other musical forms and some of which is uniquely “jazz” in the same way that languages have different dialects which may even be mutually unintelligible amongst speakers of the same language. The vocabulary is made up of phrases and lines that one learns in context, much as you might hear a familiar word or phrase being spoken in a language you are learning. Using these phrases and lines, based in the common rules of grammar (or deliberately breaking them) requires, almost literally, speaking them out.
And the remarkable thing is that when I play this new material either against a backing track or, ideally, with another person, I learn to THINK differently about the music I am making. There is no amount of study of written notes and harmonic theory that will make me a jazz musician. Playing jazz is a way of thinking about music, expression, collaboration, culture, improvisation, order, tension, control and creativity. It must be lived into.
Or as I wrote down during my coaching call this morning, we grow through what we go through.
Teaching people to think differently is impossible without providing the affordances first for us to act differently.
“Many others have written their books solely from their reading of other books, so that many books exude the stuffy odour of libraries. By what does one judge a book? By its smell (and even more, as we shall see, by its cadence). Its smell: far too many books have the fusty odour of reading rooms or desks. Lightless rooms, poorly ventilated. The air circulates badly between the shelves and becomes saturated with the scent of mildew, the slow decomposition of paper, ink undergoing chemical change. The air is loaded with miasmas there. Other books breathe a livelier air; the bracing air of outdoors, the wind of high mountains, even the icy gust of the high crags buffeting the body; or in the morning, the cool scented air of southern paths through the pines. These books breathe. They are not overloaded, saturated, with dead, vain erudition.”
— from A Philosophy of Walking by Frederic Gros
I love writing born of direct experience, born of the insight of a moment, or generated from the passing inspiration of the glint of sunlight on the sea seen through an open window. I love writing that arises from the quiet encounter with spirit or the contemplation of a mind that finally slows down and stretches out. That is writing of authentic voice or even the super-voice that all writers know, the voice we chase for its clarity and ease. It sometimes takes a long pounding away at the keyboard or days of scribbled lines before that voice arises somewhere below consciousness. In that moment you become merely a vehicle for it, in service to something. Your word choice become less ham-fisted, the cadence of the words more natural, like a jazz musician, you become open, trading fours with the muse, offering a lick of style or form and being rewarded with an image or a connection that you could never see before.
I’m enjoying A Philosophy of Walking. It is a testament to obliquity in the arts and philosophy, about the way a walk frees the mind and opens the heart. Today I’m heading out on y first work trip since February 15 2020 and I’m appreciating the way my thinking slows down even as my body is in the stop and go rhythm of ferry travel. There is spaciousness, time to kill, time to read or write or just peer out at the sea and look for whales or sea lions. Travelling on the coast means moving at the speed of the ferry, and the best way to do that is to travel on foot, at a human pace, free of the frustrations of being confined to a car, presented with options at every turn; a crossword, a book, an album, a blog post, a nap.
Have a read this weekend of some cool things I’ve found on the web. I’ll see what ideas and thoughts bubble up from this little trip to Vancouver Island.
- The Limitations of “Performance.” With a great quote from Tim Galloway: “When we plant a rose seed in the earth, we notice that it is small, but we do not criticize it as “rootless and stemless.” We treat it as a seed, giving it the water and nourishment required of a seed. When it first shoots up out of the earth, we don’t condemn it as immature and underdeveloped; nor do we criticize the buds for not being open when they appear. We stand in wonder at the process taking place and give the plant the care it needs at each stage of its development. The rose is a rose from the time it is a seed to the time it dies. Within it, at all times, it contains its whole potential. It seems to be constantly in the process of change; yet at each state, at each moment, it is perfectly all right as it is.”
- Beyond the magic – growing our understanding of societal metamorphosis. An account of a radically open community development approach from Tunisia called Tamkeen. Lots in this piece to think about. Ht: Marcus Jenal, whose newsletter always delivers fantastic stuff.
- The Northern Ireland Assembly met, this time with simultaneous interpretation of the languages of English, Irish and Ulster Scots. More on these languages and dialects in Ulster on this beautiful video playlist from the Open University
- The Sultans of String record “The Power of the Land,” a poem by Duke Redbird set to some great music and visuals of some pretty impressive landscapes, including, at 1:36, a view of Nexlelexwem/Bowen Island and the south end of At’lka7tsem/Howe Sound, which I live.
- A discussion of Orthodox Christianity and theosis within the natural world, courtesy of Dave Pollard’s monthly link post.
- A fantastic list of mostly books on encountering silence in the Christian Contemplative tradition from Carl McColman’s blog.
- Aja Couchois Duncan and Kad Smith on the history and practice of Loving Accountability
Enjoy your weekend as we move towards midsummer. I heard my first Swainson’s Thrush today, which means the better part of the season has begun.
For about the past ten years or so I’ve been playing with various ways to teach Cynefin to groups. In every instance I start with some kind of experiential exercise to help people notice that there are different kinds of problems and situations that require us to act in different kinds of ways.
I have a couple of posts on different p[hysical exercises you can do with groups when you are face to face, and they are documented here and here. My little obsession with gamifying Cynefin led to being invited to contribute a chapter on this process in the Cynefin book as well.
Working on-line the past few years, I’ve tried a few exercises as well. The other day in teaching the framework I went through these instructions. (Number four I borrowed from Ciaran Camman.)
- Find something in your space that you can operate or solve so easily that a child could do it. When you find it think about how you might even automate it.
- Next, find something in your space that, if it failed, you would have to call in an expert to fix it for you. Notice how that is similar or different from the previous item.
- Now find something in your space that, if it failed, it would be a disaster and whatever you had planned for the day would go out the window, becasue you would have to deal with it. If it did fail, what’s the very first thing you would do?
- Finally, find something in your space that you are using for a different purpose other than the one it was intended for. If you were to give it a new name to reflect it’s new function, what would you call it?
Of course the first thing corresponds to the Clear domain in Cynefin where everything is simple and obvious and automation is possible. The second thing is complicated,and requires expertise and analysis to fix. The third thing is chaotic and requires the establishment of immediate action to get a handle on the situation. And the fourth thing is Complex and is an example of exaptive practice and how that changes the identity of a thing to the point where it’s possible that you won’t even recognize it anymore. When I taught this the other day, I referenced a 5 centimeter thick History of Ireland that I used for years as a monitor stand. When I went to lend that book to someone I couldn’t find it, despite that fact that I had been looking at it for YEARS.
i like teaching Cynfin as a framework that helps us to know how to make decisions and act. In the online world it’s often hard to study action in embodied ways, as we are so static and disconnected. But this seemed to do the trick and the participants in the course really got it.
Oh and just a note, I generally do the Complexity exercise last, because when I teach Cynefin, I am usually doing so as an introduction to complexity and so I leave us on the complex domain so we can talk about that more. This is also how I first had Cynefin presented to me – through Dave Snowden’s classing “How to Organize a Children’s Party” in which he actually starts with Chaos.
James Gleick, the author of the classic book “Chaos: Making a New Science” has written a terrific review of Jill Lepore’s new book “If Then: How the Simulmatics Corporation Invented the Future.”The book covers the origin of data science as applied to democracy, and comes as conversations about social media, algorithms, and electoral manipulation are in full swing due to the US election and the release of The Social Dilemma.
Gleick’s review is worth a read. He covers some basic complexity theory when working with data. He provides a good history of the discovery of how the principles of “work at fine granularity” helps to see patterns that aren’t otherwise there. He also shows how the data companies – Facebook, Google, Amazon – has mastered the principle of “data precedes the framework” that lies at the heart of good sensemaking. For me, both of these principles learned from anthro-complexity, are essential in defining my complexity practice.
Working at fine granularity means that, if you are looking for patterns, you need lots of data points before seeing what those patterns are. You cannot simply stake the temperature in one location and make a general conclusion about what the weather is. You need not only many sites, but many kinds of data, including air pressure, wind speed and direction, humidity and so on – in order to draw a weather map that can then be used to predict what MIGHT happen. The more data you have, the more models you can run, and the closer you can come to a probable prediction of the future state. The data companies are able to work at such a fine level of granularity that they can not only reliably predict the behaviour of individuals, but they can also serve information in a way that results in probable changes to behaviour. AS a result, social media is destroying democracy, as it segments and divides people for the purpose of marketing, but also dividing them into camps that are so disconnected from one another that Facebook has already been responsible for one genocide, in Myanmar.
Data preceding the framework means that you don’t start with a framework and try to fit data to that matrix, but rather, you let the data reveal patterns that can then be used to generate activity. Once you have a ton of data, and you start querying it, you will see stable patterns. If you turn these into a framework for action, you can sometimes catalyze new behaviours or actions. This is useful if you are trying to shift dynamics in a toxic culture. But in the dystopian use of this principle, Facebook for example notices the kinds of behaviours that you demonstrate and then serves you information to get you to buy things in a pattern that is similar to others who share a particular set of connections and experiences and behaviours. Cambridge Analytica used this power in many elections, including the 2016 US election and the Brexit referendum as well as elections in Trinidad and Tobago and other places to create divisions that resulted in a particular result being achieved. You can see that story in The Great Hack. Algorithms that were designed to sell products was quickly repurposed to sell ideas, and the result has been the most perilous threat to democracy since the system was invented.
Complex systems are fundamentally unpredictable but using data you can learn about probabilities. If you have a lot of data you gain an advantage over your competitors. If you have all the data you gain an advantage over your customers, turning them from the customer to the product. “If you’re not paying, you are the product” is the adage that signals that customers are now more valuable products to companies that the stuff they are trying to sell to them.
Putting these principles to use for good.
I work with complexity, and that means that I also work with these same principles in helping organizations and communities confront the complex nature of their work. Unlike Facebook though )he says polemically) I try to operate from a moral and ethical standpoint. At any rate, the data we are able to work within our complexity work is pretty fine-grained but not fine-grained enough to provide accurate pictures of what can be manipulated. We work with small pieces of narrative data, collecting them using a variety of methods and using different tools to look for patterns. Tools include NarraFirma, Sensmaker and Spryng, all of which do this work. We work with our clients and their people to look for patterns in these stories and then generate what are called “actionable insights” using methods of complex facilitation and dialogic practice. These insights give us the inspiration to try things and see what happens. When things work, we do more and when they don’t we stop and try something else.
It’s a simple approach derived from a variety of approaches and toolsets. It allows us to sift through hundreds of stories and use them to generate new ideas and actions. It is getting to the point that all my strategic work now is actually just about making sense of data, but doing it in a human way. We don’t use algorithms to generate actions. We use the natural tools of human sensemaking to do it. But instead of starting with a blank slate and a vision statement that is disconnected from reality, we start with a picture of the stories that matter and we ask ourselves, what can we start, stop, stabilize or create to take us where we want to go.
In a world that is becoming increasingly dystopian and where our human facilities are being used against us, it’s immensely satisfying to use the ancient human capacities of telling stories and listening for patterns to create action together. I think in some ways doing work this way is an essential antidote to the way the machines are beginning to determine our next moves. You can use complexity tools like this to look at things like your own patterns of social media use and try to make some small changes to see what happens. Delete the apps from your phone, visit sites incognito, actively seek out warm connections with real humans in your community and look for people that get served very different ads and YouTube videos and recommended search results. Talk to them. They are being made to be very different from you, but away from the digital world, in the slower, warmer world of actual unmediated human interaction, they are not so different.
Postscript
Over the past few years, my work has taken shape from the following bodies of work:
- Dave Snowden’s theories of anthro-complexity, which forms the basis of my understanding of complexity theory and some of the tools for addressing it, including facilitation tools and Sensemaker.
- Cynthia Kurtz’s Participatory Narrative Inquiry, which is a developmental evaluation approach that uses stories and methods of sensemaking that she partly developed with Dave and then subsequently. I use her software, NarraFirma, for most of our narrative work now.
- Glenda Eoyang’s Human System Dynamics is a set of tools and methods for working with complex adaptive systems.
- The facilitation and leadership practices from the Art of Hosting which help us to develop the personal capacity to work dialogically with complexity.