Strategy. Innovation. Brand.

Innovation

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Ideas and Free Throws

Good idea.

Assume, for a moment, that I’m your manager. I call you into my office one day and say, “You’re doing pretty good work … but you’re going to have to get better at shooting free throws on the basketball court. If you want a promotion this year, you’ll need to make at least 75% of your free throws.”

What would you do? Assuming that you don’t resign on the spot, you would probably get a basketball, go to the free throw line, and start practicing free throws (also known as foul shots). Like most skills, you would probably find that your accuracy improves with practice. You might also hire a coach or watch some training videos, but the bottom line is practice, practice, practice.

Now, let’s change the scenario. I call you into my office and say, “You’re doing pretty good work … but you’re going to have to get better at creating ideas. If you want a promotion this year, you’ll need to increased the number of good ideas you generate by at least 75%.”

Now what? Well … I’d suggest that you start practicing the art of creating good ideas. In fact, I’d suggest that it’s not very different from practicing the art of shooting free throws.

But shooting free throws and creating ideas seem to be very different processes. Here’s how they feel:

  • Shooting free throws – you get a basketball, you walk to the line – 15 feet from the basket – and you launch the ball into the air. You’re conscious of every action. You recognize that you’re the cause and a flying basketball is the result.
  • Creating ideas – nothing happens … then, while you’re walking down the street, minding your own business – poof! – a good idea pops into mind. You have no sense of agency. Instead of feeling like the cause, you feel like the effect.

The two activities seem very different but, actually, they’re not. In both cases, you’re doing the work. With free throws, you readily recognize what you’re doing. With ideas, you don’t. Free throws happen in your conscious mind, also known as System 2. New ideas, on the other hand, happen below the level of consciousness, in System 1. When System 1 works up an idea, it pops it into System 2 and you become aware of it.

We understand how to practice something in System 2 – we’re aware of our activity. But how do we practice in System 1? How can we practice something that we’re not aware of?

We think of our mind as controlling our body. But, as Amy Cuddy has pointed out, our bodily activities also influence our mental states. If we make ourselves big, we grow more confident. If we smile, our mood brightens.

So how do we use our bodies to teach our brains to have good ideas? First, we need to observe ourselves. What were you doing the last time you had a good idea? I’ve noticed that most of my good ideas pop into my head when I’m out for a walk. When I’m stuck on a difficult problem, I recognize that I need a good idea. I quit what I’m doing and go for a walk. Oftentimes, it works – my System 1 generates an idea and pops it into System 2.

In my critical thinking classes, I ask my students to raise their hands if they have ever in their lives had a good idea. All hands go up. Everybody has the ability to create good ideas. The question is practice.

Then I ask my students what they were doing the last time they had a good idea. The list includes: out for a walk, driving, riding in a car, bus, or train (but not an airplane), taking a shower, drifting off to sleep, and bicycling.

I also ask them what activities don’t generate good ideas. The list includes: when they’re stressed, highly focused, multitasking, overly tired, overly busy, or sitting in meetings.

So how do we practice the art of having good ideas? By doing more of those activities that generate good ideas (and fewer of those that don’t). The most productive activities – like walking – seem to occupy part of our attention while leaving much of our brainpower free to wander somewhat aimlessly. Our bodily activity influences and stimulates our System 1. The result is often a good idea.

Is that perfectly clear? Good. I’m going for a walk.

One-Day Seminars – Fall 2018

Wake up! It’s seminar time.

This fall, in addition to my regular academic courses, I’ll  teach three one-day seminars designed for managers and executives.

These seminars draw on my academic courses and are repackaged for professionals who want to think more clearly and persuade more effectively. They also provide continuing education credits under the auspices of the University of Denver’s Center for Professional Development.

If you’re guiding your organization into an uncertain future, you’ll find them helpful. Here are the dates and titles along with links to the registration pages.

I hope to see you in one or more of these seminars. If you’re not in the Denver area, I can also take these on the road. Just let me know of your interest.

Designing A Life — Fate and Gravity

Design constraint.

I was one of the taller kids in my high school class. I thought – and hoped – that I might use this size advantage to become a star basketball player.

Alas, it was not to be. I had a bad case of what’s often called “white guy’s disease”. Simply put, I couldn’t jump. Though I was over six feet tall, I could barely touch the rim even with my mightiest leap.

Van Jones would call this my fate. In a memorable commencement speech at Loyola New Orleans, Jones distinguished between fate and destiny. He defines fate as “those things that we have no control over” and suggests that the “people who are most miserable in life are the ones who spend their time cursing their fate.” (Click here for the video).

As it happens, the field of design thinking has a similar concept. Dave Evans, a design engineer, calls it the gravity problem. No matter how hard we try, we can’t change gravity. Indeed, we can’t even suspend it temporarily. Wouldn’t it be great to suspend gravity while we’re building a new house and then reinstate it when we move in? Unfortunately, we can’t. Time to move on. (For a podcast featuring Evans, click here).

Gravity is a fact of life. My inability to jump is a fact of my life. Instead of asking, “How can I change my fate?” it’s better to accept it and ask more useful questions. A useful question is one that we can actually do something about. A designer would say that we need to design around the constraints.

As Evans describes it, we’re looking for room to maneuver around the facts that define our products or our lives. I couldn’t jump very high. That’s a design constraint. So I might ask a different question: “How can I make basketball an important part of my life, even though I can’t play very well?” Once I ask the how can I question, I can dream up alternatives. I might become a coach. Or a sportscaster. Or I might decide to take up a sport that doesn’t require jumping.

Van Jones calls this destiny as opposed to fate. We have no control over fate. But we can respond to destiny. As Jones points out, “The world is not going to tell you every day about …” your destiny. We have to live our lives, and respond to our challenges, to discover our destiny.

Whether we call it destiny or design thinking, when we bump up against gravity, we need to change the question. By doing so, we can find an array of alternatives. Once armed with a list of alternatives, we can design a life or a product. Which alternatives fit the constraints? Which ones don’t?

We don’t design a product and then launch it. Rather we design it, then re-design it, then re-design it as we discover new constraints. Similarly, it’s difficult to design a life before we launch it. To overcome fate and discover our destiny, we need to design our lives as we live them.

Happiness and Creativity

Do you want to be happy or creative today?

The 2017 World Happiness Report was released yesterday. The headlines today are all about Norway, which supplanted Denmark as the happiest country in the world. That’s nice and I’m sure that Norwegians are celebrating today. But what intrigues me is the relationship between happiness and creativity. (See also here, here and here).

In 2015, the Martin Prosperity Institute published the Global Creativity Index. Reviewing the two lists together suggests that the relationship between happiness and creativity is very tight indeed. Here are the top ten countries on each list.

Rank Happiness (2017) Most Creative (2015)
1 Norway Australia
2 Denmark United States
3 Iceland New Zealand
4 Switzerland Canada
5 Finland Denmark
6 Netherlands Sweden
7 Canada Finland
8 New Zealand Iceland
9 Australia Singapore
10 Sweden Netherlands

Of the ten happiest countries in the world, eight also make the top ten list for most creative countries in the world. The two that miss — Norway and Switzerland — don’t miss by much. Norway is 11th on the most creative list; Switzerland is 16th.

Conversely, of the ten most creative countries in the world, eight also make the list of the happiest countries in the world. Again, the two that don’t make the list — the United States and Singapore — don’t miss by much. The United States is 14th; Singapore is 26th.

What’s it all mean? I can think of at least four ways to interpret the data:

  • Happiness causes creativity — there’s a meme that says that only tortured geniuses are truly creative. Perhaps it’s wrong. Perhaps you have to be happy to be creative.
  • Creativity causes happiness — this explanation appeals more to me. I know that when I create something (like an article for this website), it makes me happy. I get a little glow of accomplishment. On the other hand, I know happy people who aren’t very creative and vice-versa.
  • A hidden third variable causes happiness and creativity to correlate — perhaps there’s something else going on. It could be income — all of the countries are fairly rich. It could be government policy — they all invest public funds in research. It could be geography — they are all fairly far from the equator. It could be language — all of the countries on the list have very good English language skills.
  • The two surveys are measuring essentially the same thing — though the two surveys seem quite different, perhaps they really measure the same thing. Perhaps happiness and creativity are so throughly intertwined that we can’t tease them apart.

It’s also interesting to delve into which countries have the best combination of happiness and creativity. We can make some crude judgments by adding up the national position in each survey. Like golf, the low score wins. For instance, Denmark is second in happiness and fifth in creativity, for a combined score of seven. As it happens, that’ s the lowest score — so Denmark takes first place in the combined league table. Here are the top five combined scores. I don’t know about you but I think I’ll soon pay a visit to Denmark.

Rank Country Combined Score
1 Denmark 7
2 Australia 10
3 Iceland 11
3 (tie) Canada 11
3 (tie) New Zealand 11

Greetings from quit.snacks.humid

My house -- quit.snacks.humid

My house — quit.snacks.humid

How do you tell someone where you are? Most of us would use some form of a postal address to identify our location. But what if you’re in a place that doesn’t have a postal address? In other words … most of the world.

If there’s no postal address, I might use latitude and longitude. For instance, our home is located at 39.714549 latitude and -104.971346 longitude. If you understand the system, you’ll realize that my house is 39 degrees north of the equator and 104 degrees west of the prime meridian that passes through Greenwich, England.

(I have an 18th century French map that gives longitude as the number of degrees east or west of Paris. It was part of a long-running dispute about where, precisely, the center of the world is.)

Longitude and latitude give us precise locations, but they’re not human friendly. It’s like noting that the current temperature is 287.039 degrees Kelvin. That’s accurate but not terribly meaningful to most humans.

So, is there a way to map the world that would be easier for humans to manage? Well, how about we divide up the entire surface of the earth into squares that are approximately three meters per side? Each square is nine square meters or roughly 90 square feet. As you’ve no doubt calculated by now, we would need about 54 trillion such squares.

That may sound complicated but, really, how hard is it to manage 54 trillion squares? The researchers at What3Words – a start-up company in London – figured out that you only need 40,000 words in three-word combinations. That yields about 64 trillion combinations – enough to address the world and have a few trillion combinations left over.

In the world of What3Words, our home address is quit.snacks.humid. It’s easy to remember and precise enough to guide you to our front door. If I wanted to guide you to our driveway, I would instead use the words refuse.fake.limbs. If I wanted to send you to the highest summit in Colorado – a place that doesn’t have a postal address – I would send you to penned.metro.inspections.

According to What3Worlds, the system is already in use to deliver mail in unaddressed areas like Mongolia or the favelas of Brazil. Similarly, Steven Spielberg is using What3Words addresses to get his actors and crew to the right place at the right time as he films his latest movie. I can imagine Colorado’s Alpine Rescue Team guiding rescuers to acutely.jumbo.popcorn rather than saying, ”The injured party is about 3.3 miles northeast of the Mt. Elbert summit on the east flank of a small ravine.”

What3Words already has some interesting use cases and, if it develops fully, it should help us with logistics, emergency services, scheduling, and materials management. But its real potential comes from the fact that it’s released not as a solution but as a platform. As we know, (click here, here, and here) platforms are innovations that generate innovations. As other application developers adopt and adapt the platform, we could see a rich ecosystem of solutions that even the What3Words folks can’t imagine today.

By the way, I’m taking a few days off. If you need me, I’ll be at tent.quarrel.charm.

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