Prior Quotes of the Week
First Quarter, 2000
(Titles that are linked may be ordered online.)
Quote
of the Week #173 (2000.03.28)
Living Pattern Languages and
the Design-Build-Use Process
When the language is shared, the individual patterns in the
language are profound. The patterns are always simple. Nothing which is not
simple and direct can survive the slow transmission from person to person. There
is nothing in these languages so complex that someone cannot understand it.
. . .
The connection between the users and the act of building
is direct.
Either people build for themselves, with their own hands, or
else they talk directly to the craftsmen who build for them, with almost the
same degree of control over the small details which are built.
The whole emerges by itself and is continually repaired. Each
person in a town knows that his own small acts help to create and to maintain
the whole. Each person feels tied into society, and proud because of it.
The adaptation between people and building is profound.
Each detail has meaining. Each detail is understood. Each detail
is based on some person's experience, and gets shaped right, because it is slowly
thought out, and deeply felt.
Because the adaptation is detailed and profound, each place
takes on a unique character. Slowly, the variety of places and buildings begins
to reflect a variety of human situations in the town. This is what makes the
town alive. The patterns stay alive, because the people who are using them are
also testing them. . . .
The fact is, that the creation of a town, and the creation
of the individual buildings in a town, is fundamentally a genetic process.
No amount of planning or design can replace this genetic process.
And no amount of personal genius can replace it either.
Our emphasis on objects, has blinded us to the essential fact
that it is above all the genetic process which creates our buildings and our
towns, that it is above all this genetic process which must be in good order
. . . and that this genetic process can only be in good order, when the language
which controls it, is widely used, and widely shared.
People need a living language, in order to make buildings for
themselves. But the language needs the people too . . . so that its constant
use, and feedback, keeps its patterns in good order.
Christopher
Alexander , The
Timeless Way of Building, pp. 230 - 231, 240, Oxford University Press,
1979.
While The Timeless Way of Building and A
Pattern Language specifically address the field of architecture, the principles
can be insightfully applied to any form of design process, from software development
to strategic planning.
For further exploration, check out our Design-Build-Use
and Four Step Recreative Process Models.
Quote of the Week #172 (2000.03.13)
Future Waves
Precognition means knowing in advance. It implies that effects
sometimes precede their causes in a way that makes nonsense of the logic of
science. But perhaps the strangest thing of all about it is that physics does
not in fact forbid the transmission of information from the future to the present.
It happens all the time.
If you run an electrical current through a system for a while
and then suddenly cut it, several things happen, and the actual blackout is
the last of these to occur. Two precursor waves go out ahead of the cutoff event.
One of these travels, as all electromagnetic waves do, at the speed of light.
The other is almost as fast, but is slowed down a little by the properties of
the medium through which it passes. And then finally, at a very much slower
speed, the event itself arrives. Signals about what is to happen thus actually
go out ahead of the happening. . . .
Two top theoretical physicists, Harold Puthoff and Russell
Targ of the Stanford Research Institute, suggest that the hologram
principle which has been demonstrated for space also operates in the same way
for time. That just as each point in space contains information about the whole
of space, so each moment in time holds information about all time. In other
words, the present is a product not only of the past, but the future as well.
. . .
Everybody experiences the precursor waves. All that it takes
to become a prophet is the ability to keep the information they contain in your
conscious mind after the advance pattern has passed you by.
Lyall Watson , Gifts
of Unknown Things: A True Story of Nature, Healing, and Initiation from Indonesia's
"Dancing Island," pp. 69 - 71, Destiny Books, 1991.
Quote of the Week #171 (2000.03.06)
The Child's Sense
We walked together down the beach, and a small and mottled
heron flew up at our feet, landed ahead on the sand, ruffled, walked, watched
us coming on, lengthened its neck in new alarm, and flew another few reluctant
yards.
Every time it took flight it uttered a shart, broken "kew"
sound on a descending tone.
"Purchong laut," said Tia, and laughted gently.
"He sings a green song."
For a moment I simply enjoyed the bird and the poetry of her
description, but then it occurred to me that only I knew it as a little green
heron. In fact it isn't green at all. The literal translation of her name for
it was something like "longlegs of the sea."
"Why green?" I asked her.
"That is his color. His voice is like a sharp new leaf
or a thorn."
"Not brown?"
"No, of course not. Brown is the sound of katak."
Katak was the local toad. The common lumpy one that propped
itself up near lights in the village at night and produced a derisory sound
that was indeed rather brown.
The idea was beginning to grow on me.
"What makes a black sound?"
"Buffalo. And thunder."
"White?"
"The sea where it touches the sand."
Now I was really hooked.
Tia was giving me these examples without hesitation, as though
she were used to hearing sound in color. And what really appealed to me was
that the colors were totally appropriate. They were the colors of the objects
producing the sound.
. . . She was clearly getting a little impatient will all this
talk about something so obvious, but I couldn't leave it alone.
"All sounds have colors?"
"Astaga! You did not know?"
"No."
"How
can you listen to talk or music without color?" Her eyes were full of pity.
"When the drums talk, they lay a carpet of brown, like soft sand on the
ground. A dancer stands on this. Then the gongs call in green and yellow, building
forests through which we move and turn. And if we lose our way, there is always
the white thread of the flute or the song to guide us home."
She shook her head in sorrow and dismay, and faced with the
wisdom of this twelve-year-old, I felt like a backward child.
Lyall Watson , Gifts
of Unknown Things: A True Story of Nature, Healing, and Initiation from Indonesia's
"Dancing Island," pp. 51 - 53, Destiny Books, 1991.
Quote of
the Week #170 (2000.03.01)
Model Building: An Invitation to Interaction
The value of prototypes resides less in the models themselves
than in the interactions - the conversations, arguments, consultations, collaborations
-- they invite. Prototypes force individuals and institutions to confront the
tyranny of trade-offs. That confrontation, in turn, forces people to play seriously
with the difficult choices they must ultimately make. The fundamental question
isn't, What kinds of models, prototypes and simulations should we be building?
but,
What kind of interactions do we want to create? The latter question aims at
the heart of strategic introspection. Consequently, the design focus - the value
emphasis - must be on the quantity and quality of human interactions that modeling
media can support. Who should be working together? What should they be talking
about? Who should see the model next?
Michael Schrage , Serious
Play: How the World's Best Companies Simulate and Innovate, Harvard
Business School Press, 1999.
Quote of the
Week #169 (2000.02.20)
Information
Old Monkey Man and I had spent countless hours trying to understand
information and its relevance to organizations, asking our endless questions.
What is the significance of the "inform" part of the word information?
What is the nature of that which is recieved from external sources and "forms
us" within? What is the nature of that which forms within us which we then
feel comelled to transmit, and how does it form others when it is received?
What allows formation of information, permits it to endure unaltered, yet be
available at any time for transformation in infinite ways? Why and from where
came the universal, perpetual urge to receive and transmit informationthe
incessant desire to communicate? Is it an urge at all, or is it an unavoidable
necessityan integral component essential to life? Indeed, is it the essence
of life itself? Or is it a principle beyond life itself? Could it be the fundamental,
formative essence that gives shape and distinction to all thingspart of
an inseparably whole universe?
. . . In a rare insight, Gregory Bateson proposed that "information
is the difference that makes a difference." If something is received that
cannot be differentiated or, if once differentiated, makes no difference, he
asserts it is just noise.
Bateson's perspective is fascinating but limited, for it implies
only mind-to-mind communication. If you are hiking along in the wilderness and
a rock comes bounding down the mountain, breaking your leg, that is certainly
a difference that makes an enormous difference. The same can be said of running
barefoot through the house and breaking a toe on a chair leg. It that information?
Both
certainly convey meaning. If your broken leg and crushed toe are a difference
that makes a difference, then, by Bateson's definition, condensed, inanimate
matter and gravitational force clearly have the ability to communicate. Locked
in our box of self-awareness, we think of it as one-way communicationrock
to leg, or chair leg to toe, but we truly have no way of knowing what information,
if any, flows the opposite way.
Dee Hock , Birth
of the Chaordic Age, pp. 198 - 199, Berrett-Koehler Publishers, 1999.
Quote
of the Week #168 (2000.02.13)
"Loaded Questions"
Continents drifting across the oceans have trends. Bullets
have directions. Cannonballs have trajectories. The future doesn't. The future
is the intersection of choice and interruptions. The Webwhat a surprise!is
more like the future than a cannonball. It will be what we make of it.
This leads to a funny conclusion. Ironic, actually. We ask
questions about the future of the Web because we think there's a present direction
that can be traced into the future. But in fact, the questions we ask aren't
going to predict the future. They will create the future.
Not
to get all heavy and ontological, but since questions are a type of conversation,
it looks a bit like conversations give the world its shape, doesn't it? Questions
do the spade work. They prepare the ground for answers. Be careful what you
ask or you just might become it.
Rick Levine, Christopher Locke, Doc Searls, and David Weinberger,
The Cluetrain Manifesto
: The End of Business as Usual, pp. 166, Perseus Books, 2000.
Quote
of the Week #167 (2000.02.06)
The Corporation as Conversation
Companies will survive employees telling their truths, their
stories in a business context, without instituting draconian controls on their
ability to speak out when and to whom thay please. We listen to individuals
differently than we do organizational speech. When a company publishes PR, it's
trying to give us a complete message about who they are and what they do. We
have to decide to trust or distrust the company based on a single statement.
Well-written PR leaves us with few avenues for corroboration and second opinions.
It's meant to be self-contained.
On the other hand, when I converse with people inside a company,
I hear stories from individuals. They're all grains of sand, their combined
voices richer and more diverse than the univocal speech of corporate mouthpieces.
We add up all the anecdotes we hear from individuals. We have to trust our own
averaging, our own summing of stories, our own divining of truth. With more
people, more stories in the mix, it's harder for one negative story to sway
me. This speaks to the need to have many people in an organization talking to
customers. A single "corporate story" is a fiction in a world of free
conversation. Corporate stories, like corporate cultures, are informed by individuals
over time through many contacts, conversations, and opportunities to tell stories.
Rick
Levine, Christopher Locke, Doc Searls, and David Weinberger, The
Cluetrain Manifesto : The End of Business as Usual, pp. 66 - 67, Perseus
Books, 2000.
Quote
of the Week #166 (2000.01.31)
Resolving the Ownership Question
in Open-source Communities
What does 'ownership' mean when property is able to be infinitely
duplicated, is highly malleable, and the surrounding culture has neither coercive
nor material scarcity economics?
Actually, in the case of the open-source culture, this is an
easy question to answer. The owner(s) of a software project are those who have
the exclusive right, recognized by the community at large to re-distribute
modified versions.
According to the standard open-source licenses, all parties
are equals in the evolutionary game. But in practice there is a very well-recognized
distinction between 'official' patches, approved and integrated into the evolving
software by publicly recognized maintainers, and 'rogue' patches by third parties.
Rogue patches are unusual, and generally not trusted.
. . . Custom is indifferent to people who redistribute modified
versions within a closed user or development group. It is only when modifications
are posted to the open-source community in general, to compete with the original,
that ownership becomes an issue.
There are, in general, three ways to acquire ownership of an
open-source project. One, the most obvious, is to found the project. When a
project has had only one maintainer since its inception and the maintainer is
still active, custom does not even permit a question as to who owns the
project.
The second way is . . . well understood in the community that
project owners have a duty to pass projects to competent successors when they
are no longer willing or able to invest needed time in development or maintenance
work.
. . . While it is unheard of for the open-source community
at large to actually interfere in the owner's choice of succession, customary
practice clearly incorporates a premise that public legitimacy is important.
The third way to acquire ownership of a project is to observe
that it needs work and the owner has disappeared or lost interest. If you want
to do this, it is your responsibility to make the effort to find the owner.
. . . In this interval, if someone else announces that they
have been actually working on the project, their claim trumps yours. It is considered
good form to give public notice of your intentions more than once . . .
If
you have gone through this process in sight of the project's user community,
and there are no objections, then you may claim ownership of the orphaned project
and note so in its history file. This, however, is less secure than being passed
the baton, and you can not expect to be considered fully legitimate until you
have made substantial improvements in the sight of the user community.
Eric S. Raymond, The
Cathedral & The Bazaar; Musings on Linux and Open Source by an Accidental
Revolutionary, pp. 89 - 91, O'Reilly & Associates, Inc., 1999.
Quote
of the Week #165 (2000.01.24)
Complexity, Co-Design, and the Delphi Effect
. . . Sociologists years ago discovered that the averaged opinion
of a mass of equally expert (or equally ignorant) observers is quite a bit more
reliable a predictor than that of a single randomly-chosen observer. They called
this the "Delphi effect." It appears that what Linus has shown is
that this applies even to debugging an operating systemthat the Delphi
effect can tame development complexity even at the complexity level of an operating
system kernel.
One
special feature of the Linux situation that clearly helps along the Delphi effect
is the fact that the contributors for any given project are self-selected. An
early respondent pointed out that contributions are received not from a random
sample, but from people who are interested enough to use the software, learn
about how it works, attempt to find solutions to problems they encounter, and
actually produce an apparently reasonable fix. Anyone who passes all these filters
is highly likely to have something useful to contribute.
Eric S. Raymond, The
Cathedral & The Bazaar; Musings on Linux and Open Source by an Accidental
Revolutionary, pp. 42, O'Reilly & Associates, Inc., 1999.
Quote of the Week #164 (2000.01.17)
Competing Economics, Embedded Compromise, and
Releasing Value
The economics of information and the economics of things have
been tied together like participants in a three-legged race. Every business
is consequently a compromise between the economics of information and the economics
of things. Separating them breaks their mutual compromise and potentially releases
enormous economic value.
Consider the shelf space in a shop. Shelf space serves two
different functions simultaneously. It is a billboard (information) that
tells customers what they need to know in order to make a selection. It is also
inventory (a thing)the stock of goods residing between factory
and consumer.
If retailers chose to lay out shelves for purely informational
purposes, they would maximize the displaythe bigger the shelf,
the richer the choice presented to the consumer. If retailers focused on physical
economics, however, they would minimize the display, to control the cost
of inventory. But it is impossible to maximize and minimize simultaneously.
. . .
This compromise between the economics of information and the
economics of things suppresses economic value, but more so in some businesses
than others. In grocery retailing, the value of the product is low, inventory
turns are high, and the premium is placed on selection by the customer (beyond
some threshold) is comparatively low. The compromise between selection and inventory
is not too severe. In book retailing, however, the value of the product is high,
inventory turns are very low, and the premium on selection is much higher. The
informational imperative to carry high inventory and the logistical imperative
to minimize it exists in strong tension with each other: lots of economic value
is suppressed. Separating the economics of things from the economics
of informationallowing for electronic search independent of warehouse
deliverytherefore releases fare more in value in book selling than it
does in grocery retailing.
The implications of unraveling the informational value chain
and the physical value chainand then allowing each to evolve in accordance
with its very distinct economicsare profound. Traditional business models
will become deeply vulnerable wherever the compromise between two sets of economics
suppresses value. The separation will offer opportunities for companies to capitalize
on either the liberated economics of information or the liberated economics
of things. But none of the emergent business models needs to bear much resemblance
to its antecedent.
Information,
in short, may be the end product of only a minority of businesses, but
it glues together value chains, supply chains, consumer franchises, and organizations
across the entire economy. And it accounts for a grossly disproportionate share
of competitive advantage and therefore profits. . . . Since the economics of
information and the economics of physical things are fundamentally different,
this can release tremendous economic value: value that was suppressed by their
mutual compromise.
Philip Evans and Thomas S. Wurster, Blown
to Bits: How the New Economics of Information Transforms Strategy,
pp. 17 - 20, A Harvard Business School Press Book, 2000.
Quote of
the Week #163 (2000.01.10)
Theatre as Model, not Metaphor
Let us be very clear: We do not mean to present work as
theatre. It is not a metaphor but a model. We do not apply the principles of
theatre to work merely to force new comparisons. Too many metaphors already
litter the contemporary business landscape. . . . Rather, we seek to focus attention
on the quintessentially dramatic nature of an enterprise. Thus, we literally
mean: Work is theatre.
The word "drama" derives from the Greek drao,
meaning simply "to do." In all companies, whether managers recognize
it or not, the
workers are playing, not in some game but in what should be a well-conceived,
correctly cast, and convincingly portrayed real-life drama of doing.
Indeed, understanding this crucial point brings whole new meaning to oft-used
business terms borrowed from or shared with the performing arts, such as production,
performance, role, scenario, and a host of others.
B. Joseph Pine II and James H. Gilmore, The
Experience Economy, pp. 104, A Harvard Business School Press Book,
1999.
Other Prior Quotes:
Fourth Quarter, 1999
Third Quarter, 1999
Second Quarter, 1999
First Quarter, 1999
Fourth Quarter, 1998
Third Quarter, 1998
Second Quarter, 1998
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