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MG Taylor Modeling Language Explore
the Models
April 17, 1997 |
A Slice of Reality
At MG Taylor Corporation we refer to a model as a "slice of reality."
A vantage point of perception. The Latin derivation, modulus is the
diminutive of modus, which means measure, rhythm, harmony. So a model
is a little measure, a little rhythm, a little harmony--a slice. Of these three
terms, we're perhaps the most familiar with "measure", but the other
two are more important to contemplate. We're used to building models to measure
things--the effect of air pressure on the surface of a wing, or the profitability
of a corporation. We may not be so comfortable with ferreting out models that
divine the rhythm and harmony of the world around and in us. Or if we are, we
confine those models to the realms of art, philosophy, essay, poetry. But the
complexity of the world--even the corporate world--is too deep to be fathomed
by measurements alone. Business is art and the Enterprise should call upon the
qualities of rhythm and harmony inherent in art for assistance to lead it into
the future.
The models that are linked to this page are part of an evolving art form that
seeks the measure, rhythm and harmony--a synthesis of the features of the complex
world of the evolving enterprise. Each model has several features:
- a number of components expressed as terms and symbols (glyphs)
- a spatial arrangement of these components relative to each other and perhaps
to some axis such as time
- additional connections between the components which indicate flow or dependency
The models fall into several categories, but we leave the explorer to imagine
these for himself (or herself). Too much definition may dull the process of
discovery.
If you're looking for formulas, you won't find them here. If you're looking
for patterns, you may wind up staying here for a long time!
The information found in this website is supplemental to information found
in the MG Taylor Corporation manual, A Strategic Modeling Language for the
21st Century. The models found here are drawn differently and described
differently than in the manual.
For more background on the glyphic aspect of the modeling language, follow
this link.
All models of the MG Taylor® Modeling Language are protected by copyright.
Please observe these four conditions. in
your reference and use of these models.
Currently available models:
Model |
Description |
Image |
Model |
Glyphs |
Ten Step Knowledge Work Process |
The engine for processing information from events through
a knowledge base, into distribution, into design, and on to subsequent
events. |
|
model
11/1/96 |
glyphs
10/30/96 |
Scan-Focus-Act |
A basic representation of the creative process in three
stages (plus a feedback element). |
|
model
11/4/96 |
glyphs
10/30/96 |
Business of Enterprise |
The network-based architecture for linking the functions
of production, investment, consumption and management in the Knowledge-based
enterprise. |
|
model
9/30/96 |
glyphs
11/2/96 |
Stages of an Enterprise |
The Lifecycle of the enterprise including special situations
such as overshoot and collapse, turnaround, the entrepreneurial button. |
|
model
9/30/96 |
glyphs
11/2/96 |
5 E's of Education |
The necessary and sufficient components of a complete
educational package. |
|
model
11/4/96 |
glyphs
11/2/96 |
Vantage Points |
Seven shells of context from philosophy to task that
must be in place for enterprises to maintain homeostasis. |
|
model
11/4/96 |
glyphs
11/2/96 |
Seven Domains |
The seven areas that are managed in every enterprise
and every activity of the enterprise. When managed properly they ensure
corporate health and allow Knowledge-based organizations to grow and
profit. |
|
model
11/4/96 |
glyphs
11/2/96 |
Seven Stages of the Creative Process |
The most complex of the creativity models developed
by MG Taylor, this model explains how problems are created and then
solved in a process that is recursive, fractal, cyclic and nonlinear
in character. |
|
model
12/18/96 |
glyphs
12/18/96 |
'Spoze |
The 'Spoze model holds the secret for allowing systems
to evolve in rapidly changing environments and yet maintain their own
homeostasis and identity. Enterprises use 'Spoze to innovate without
having to grab on to every new idea that passes by. |
|
model
1/13/97 |
glyphs
1/13/97 |
Appropriate Response |
Every stage of the Creative Process involves producing
a result. Superior results can be obtained by filtering or testing competing
designs through the six elements of this model. |
|
model
1/22/97 |
glyphs
1/22/97 |
Three Cat |
We all build mental concepts of how things work by
observing reality. But to cement the learning, we must build models
that exemplify our concept and test these models against what we observe
to confirm our understanding. |
|
model
3/16/97 |
glyphs
3/16/97 |
Design Build Use |
The unfolding of a project or creation over time is
an interactive, iterative game between the designer, builder and user.
However, when we make the process linear, discrete and focused on being
"finished", the outcome is a nonliving one. |
|
model
3/16/97 |
glyphs
3/16/97 |
Creating the Problem |
This model explores the relationship between vision
and condition that creates the "problem." It continues with
a description of the tug and pull of creative tension that brings the
vision and conditions together to create a new condition. |
|
model
7/4/97 |
glyphs
7/4/97 |
The Learning Path: Five Points of Mastery |
Instead of the three traditional roles of education
(student, teacher, administrator), we present five: the learner, the
sponsor, the expert, the facilitator, and the steward. In high performance
environments each individual moves from role to role sometimes in rapid
succession and sometimes in cycles that span years. |
|
model
7/4/97 |
glyphs
7/4/97 |
The Four Step Recreative Process |
The creative process has many facets and can be understood
and practiced from many different vantage points. The Four Step model
emphasizes the activity of recreation between each stage of the creative
process and shows this recreation as a wave and a particle phenomenon--linear
and non-linear approaches. |
|
model
7/27/97 |
glyphs
7/27/97 |
Design Formation |
We've borrowed the basic form and vocabulary of this
model from the architectural profession. Words like "program"
and "contract documents" refer to phases in the creation of
a manmade environment. However, this vocabulary lends insight to the
creative process in many different professions and types of projects
besides architecture and construction. |
|
model
2/5/98 |
glyphs
2/5/98 |
Best Case Worst Case |
The future, they say, holds infinite potential. Unfortunately,
that does not particularly help us plan ahead. The Best Case / Worst
Case model can assist us by creating an "envelope of possibility"
for the future of a condition, project or venture. By envisioning the
complete range of possible outcomes (and the paths to reach those outcomes),
we can more readily understand the implications of our decisions and
the value of our current resources. |
|
model
4/29/98 |
glyphs |
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