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MGTpocketguide

MGTpocketguide

  1. 1. a model is a representation of reality is a manifestation of a model is a representation of reality is a manifestation of a of A pocket-size reference to the MG Taylor modelling language
  2. 2. Contents Models Glyph Jisho Axioms
  3. 3. Models SCAN FOCUS ACT APPROPRIATE RESPONSE DESIGN BUILD USE 5 E’s OF EDUCATION BUSINESS OF ENTERPRISE CREATING THE PROBLEM 7 DOMAINS SEVEN STAGES OF THE CREATIVE PROCESS S’POZE STAGES OF AN ENTERPRISE THE LEARNING PATH: FIVE POINTS OF MASTERY THREE CAT VANTAGE POINTS TEN STEP KNOWLEDGE MANAGEMENT PROCESS FOUR STEP RECREATIVE PROCESS DESIGN FORMATION
  4. 4. A Slice of The following pages provide a quick reference to the MG Taylor modelling language. The sixteen models presented here can be thought of as slices of reality, or vantage points of perception. The Latin derivation, modulus, is the diminutive of modus, which means measure, rhythm, harmony. Of these three terms, "measure" is perhaps most familiar, 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. Reality
  5. 5. SCAN FOCUS ACT SCAN FOCUS ACT Scan Focus Act is one of the simplest models to understand because it’s so easy to see it working in real life. Wherever you live, you can take a few minutes and observe any number of living things going through the process in a clearly definable manner. Lizards, house cats, dogs, insects, and birds provide excellent examples. The model can be used as a design template (e.g. for DesignShop events and virtually any other project) or as a diagnostic tool (e.g. after-action reviews to look for holes in the planning and implementation process). Using the model ensures that all stages of the process are accounted for.
  6. 6. Scan means just what you’d imagine; looking about for different options, or to gather information in a broad sort of way. Scan also implies a vantage point of some sort from which to view. The original meaning of the word means to climb or mount. In the Scan phase we build conceptual, mental models. Focus implies choice. The majority of the opportunities presented by the scan are discarded in favor of only one or several, which are scrutinized and evaluated more rigorously. The models we build in Focus are more tangible expressions of the conceptual models we built in Scan. At length a decision is made and it's time to... Act! This is the opportunity to see whether the models will pan out as they become viable systems in their own right. If discipline and imagination have been brought to the two preceding stages, this stage should be successful. Feedback. The result of an experience is fed back as learning to the next iteration of the process. Feedback is termed positive if the desire is to grow the system, and called negative if homeostatic control or goal-seeking is the object. The conventional way of thinking about the model is to proceed linearly from Scan to Focus to Act and then cycle back to Scan via a feedback loop. There's a tendency to imagine that any deviation from this process signals dysfunctional behavior, and that can be true. Some people or enterprises have great ideas and can never bring them to fruition (stuck in Scan). Or they may entertain a slavish, myopic view of annual plans and budgets, thereby missing opportunities and hampering implementation (stuck in Focus). Perhaps their days are spent "putting out fires" and they never seem to have time to innovate or make systematic efforts to improve (stuck in Act). Or a lingering introspection promotes timidity (stuck in Feedback). The pace of the model varies greatly, and stages need not be of equal length. Because of its fractal nature, it may actually be more accurate to portray the model as shown on the left, showing each stage embedding all others at all times. It also implies that there is no ‘correct sequence’ to the different stages of the model, nor is there any limitation to how often a stage is visited.
  7. 7. APPROPRIATE RESPONSE LIVI NG S YSTEM CAPABILITIES FUNCTIONAL QUALITIES EFFICACIOUS PROPER SCOPE TRUE TO NATURE ANTICIPATORY SUSTAINABLE SELF-CORRECTING The Appropriate Response model has six elements grouped into two sets of three. It is really a gate that divides one stage of the creative process from the next (see also: Seven Stages of the Creative Process). It's a gauntlet of rites of passage as an idea moves from vision to building and use. Its strength lies in the fact that it forces one to think about how living systems are able to anticipate, self-correct and sustain themselves. While the individual units of a system need not be alive (like molecules in a living cell), when all units facilitate one another's work, reproduction, assembly and repair, the whole can function as a living system. There is no single unit that makes the system 'alive', it is the relation between the compo-nents that causes these attributes to emerge. The Appropriate Response model is used as a ltering tool in the Engineering stage of the Creative Process to test various designs for tness before one, several, or a composite of them is chosen for implementation.
  8. 8. Ecacious. This word suffers from infrequent use these days, but it's an elegant term whose meaning fits the model superbly. It's defined as the power or capacity to produce the desired effect. By contrast, the word effective means having the intended or expected effect. The difference lies in the use of the word power. An efficacious design exudes power and this power is efficiently directed to yield predictable results. Proper scope. This element contains the power inherent in the first element. An excellent design should properly fill its niche and not strive for too much, nor suffer from a timid presence. The boundaries of the design must be clearly defined. By some combination of matter, energy and information the solution is able to distinguish itself clearly from other elements in its environment. A design that is true to nature is composed of elements that support one another, that do not conflict, and whose capabilities are mutually requisite. A design should be elegant, all of its parts fitting together in a pleasing fashion that makes people want to employ it. Anticipatory. Designs, or solutions to problems are living systems. As such, they must include the apparatus and processes necessary to use models based on past experience, along with current data gathering to make predictions concerning the future behavior of other systems in the environment. At the lowest level, this serves survival; at higher levels, anticipatory hardware and software enable systems to effectively collaborate with one another to support both the homeostasis and evolution of their collective ecosystem. Self-correcting. Once a system can make predictions about the future, it must compare these predictions with its current behavior and implement changes to adjust its behavior to bring it into harmony with its future models. In this sense it is bringing its vision of the future back to the present. Sustainable. Finally, a system must be able to survive birth, grow to maturity, and reproduce itself. It must do this without depleting the systems that support its growth, otherwise it will cause its own demise.
  9. 9. DESIGN BUILD USE The Design Build Use model illustrates the requisite relationship between design, build and use. By adding all of the feedback loops, the three aspects of the process become interconnected throughout the lifespan of the enterprise. For this to be effective, the processes of the three different entities must communi-cate, collaborate, and dovetail their processes. It also requires that the products of this collaboration be stable enough to provide day-to-day integrity and flexible enough to allow radical, rapid redesign to fit the changing needs of the user over time. It means that the environment is never finished and that it is constantly able to provide a just enough, just in time solution. Things that are finished in our emerging world are dead. DESIGN USE BUILD
  10. 10. Design. Create sketches, models, plans, schedules, and budgets to convey a sense of the scope of the project in many different dimensions. This is not done merely at the beginning of the project, but as a sort of continuous process throughout the life of the building. The design takes into account past and present work process requirements, as well as the uncertainty associated with the future. Build. There must be a process for rapid execution of the design that allows frequent adjustments to the realities of a build-out and the changing perceptions of the user as the design unfolds. The process and the product (space) must provide for this speed throughout the occupancy so that the enterprise of users does not have to waste time and talent in reconfiguring itself to meet changing conditions. Use. As the environment is used, it will change the processes that take place within it. These changes, in addition to events in the external environment will drive a demand for the work space to adjust its function, and to do so rapidly. The design and build capacities must always be readily at hand. One obvious application for this model is in the Management Center, where the environment is often radically redesigned within minutes to accomodate the process taking place in it. The rapid flexibility and integrity of the space is a primary feature that allows its users to radically compress the time required to invent and deliver new enterprises and new products. Design Build Use is also a powerful model to use when designing an event, even though we frequently employ Scan Focus Act as the standard template. Design Build Use calls for a slightly different, non-linear approach. The product of a module is engaged with as designers, builders and users, with successive modules iterating the design of previous ones.
  11. 11. 5 E’s OF EDUCATION EXPERIENCE EXPECT EXPLORE EXEMPLIFY EXPLAIN This is the traditional representation of the 5 E’s of Education model. Explanations and examples form the foundation of education, tying current models and knowledge bases into new ones. Experience raises the learner up to the level of expectation. What leverages experience above expecta-tion is the wedge of exploration: searching the unknown, encountering the unexpected, uncovering the surprise. The word exemplify was chosen instead of example to remind mentors and facilitators in the education process that to some degree they are the subject they teach--that they are examples of the spirit of the subject. You exemplify what you love. Mastering the spirit of the material is as critical as mastering the mechanics. The 5 E’s of Education is not a linear model. There is no fixed sequence, and elements of the model may be found within another, such that we can think of the explanation of the experience, or the exploration of expectation. When designing with the 5 E's, employ them as a reference rather than as a rigid template. If an event lacks one or several of the E's chances are its benefits will be marginalized. In isolation, exploration is bewildering, experience fatal, expectation disappointed, explanation confusing, and example unenlightening. Woven together, there is a possibility of synergy.
  12. 12. EXPLORE EXPERIENCE (outside membrane) EXPECT EXEMPLIFY EXPLAIN A more fluid version of the model is shown above. In it, explanation and example form the core. They are surrounded by a sac and membrane of expectation. Beyond that lies another, larger area of exploration. The membrane surrounding the entire model is experience. It is clear that expectations exceed simple explanation and example. But they also, clearly must fall short of exploration, with its hidden element of the unknown and undiscovered. One of the keys to understanding this model is to realize that experience enfolds it all. Even the act of hearing or reading an explanation is an experience. If you imagine experience to be a separate exercise from explanation, then the setting and force of the explanations will likely suffer. And experience should be crafted. A useful template for managing experience is the 7 Domains model.
  13. 13. BUSINESS OF ENTERPRISE In the traditional model, management is stuck in the middle, at an intersection of conflicting needs. The investor wants a higher return and a lower risk. The producer wants higher pay or fee for service for less time. The customer wants a higher quality product for less cost. Since there's no way of rationalizing these conflicting demands, management alternately focuses on one constituent at a time. It's as if the three constituent groups were seats on a Ferris Wheel going round and round, and whichever group happens to be at the top gets the priority. CUSTOMERS INVESTORS MANAGEMENT PRODUCERS The investor provides capital to the enterprise with the hope of receiving a return on the investment, and a return of the original investment as well at some point in time. The producer actually makes the product. Producers are employees, vendors and suppliers that make up the entire chain required to create and deliver a product or service. The customer buys and uses the product. Management provides the information and communication hub between the other players. At different times in history, managers have focused alternately on fulfilling the desires of one player or another.
  14. 14. In the new Business of Enterprise model, companies act more like living systems. Ecologies of organisations, or value webs, are in the business of growing resources and making their webs larger. Management no longer maintains all the connections. Instead, CUSTOMERS MANAGEMENT INVESTORS PRODUCERS there is a whole web connecting customers, producers and investors. It's these many sub-networks that tie the players more tightly together and make them interested in their shared fortunes. Constituents may also play more than one role. An individual could be an investor, a customer and a producer all at once, and therefore have a true stake in every facet of the enterprise. To leverage that stake, the individual must also play a role in the management function. The investor still provides capital to the enterprise and gets a return of and on the investment. However, more and more investors are also providers and customers. The producer still makes the product or creates the service. But producers are more involved in understanding how the company works through programs like open book management. The customer still purchases and uses the product. But customers are also interested in how well and ethically the companies are run--they vote with their investments. And customers are included in production. Management still balances the business of the whole web, but the management function is more distributed. There is more management going on, but fewer managers.
  15. 15. CREATING THE PROBLEM VISION CREATIVE TENSION (TUG AND PULL) THE PROBLEM CONDITION Creating the Problem highlights a number of factors that are important to consider when you go about creating problems for yourself. First, current conditions are NOT problems. Second, the difference between your vision and current conditions drives the creative process, so do not temper your vision with reason--create what you really want to create. Third, share your vision, choose the important elements, and work to create a common vision that incorporates and adds to the personal visions of your entire group. And lastly, be very clear about what the current conditions are. There is no reason to deceive yourself here. Current conditions are what they are, not what you or others would like them to be. By rigorously creating the problem before you begin a creative process, you will clearly define the parameters of your work and will drastically increase your chances of success.
  16. 16. These are the existing conditions before you begin the creative process. Notice that these conditions, in and of themselves, are merely conditions. They are not the problem. These conditions are in constant flux and will change as the creative process advances. This is your vision for an ideal future state. In creating this vision, take into account your personal experiences, insights and views of reality. The problem is created when you discover a gap between reality and your vision for a new reality. The problem is neither current conditions nor the vision. Rather, it is the discrepancy between them. The creative tension that comes into being when you decide to resolve the problem is the interplay between vision and reality. As the two tug and pull at each other, they will each change and modify in an effort to reach a synthesis. How many times have you found yourself fully immersed in a project, only to discover that the real problem lies elsewhere and that you are treating only a symptom? Often, what is put forward as a problem is only a condition (e.g. I can't read). What makes a condition a problem, is the recognition that one's vision does not match the current conditions. It is created from the discrepancy between vision and condition. When one decides to resolve this discrepancy, the distance between vision and conditions becomes a creative tension that will drive the creative process to resolution. That gap will work to close itself. In fact the distance between vision and conditions can be seen as potential energy that, as the creative process brings vision and conditions closer together, transforms into kinetic energy, driving the process with more and more momentum as it nears completion. With that analogy in mind, it becomes quite obvious that a limited vision, one that differs very little from the current conditions, will have very little potential energy to begin with and will therefore never get much creative kinetic energy. A more drastic vision, on the other hand, one that differs tremendously from current conditions, will have tremen-dous potential and kinetic energy. This creative energy requires clarity on vision and conditions. Especially when dealing with a group, it is imperative that the group develops a common vision and a shared understanding of the conditions, such that the group can create a collective problem that it can be united in solving.
  17. 17. 7 DOMAINS The 7 Domains form a system. While often explored in a serial way, the domains in fact form a recursive web. Each domain can be considered in the context of the others (e.g. The Environment of Process Facilitation, or the Technical Systems of the Body of Knowledge). A frequently asked question is why there is no People domain. The answer is that people are not resources to be managed. People collaboratively manage the 7 Domains to achieve together what they cannot achieve separately. The full title of this model, Managing the 7 Domains of Collabora-tive Design, reflects this. Once people focus on managing each other, a false sense of control is substituted for the powerful properties of collabora-tion. When we look for machine-like predictability from people, we deny and sacrifice the organic, dynamic qualities that enable synergy and true homeos-tasis to emerge. Therefore, the 7 Domains do not include people as resources, nor are they focused on the manage-ment of people. BODY OF KNOWLEDGE PROCESS FACILITATION EDUCATION VENTURE MANAGEMENT PROJECT MANAGEMENT TECHNICAL ENVIRONMENT SYSTEMS
  18. 18. The Body of Knowledge is the sum total of information and information about how to get information that the system requires to remain viable, to improve and innovate. Process facilitation is like negative space in a painting or drawing. It includes the philosophy and methods for removing obstacles and clearing paths so that processes within the system flow naturally and efficiently. Education stands for the processes and methods by which the system learns: how it explores, experiences, gathers explanations and examples, and how it sets cybernetic expectations. (see also the 5 E's of Education) The physical, emotional and metaphysical field within which the system plays its role. But the system is not merely subject to the Environment--it creates and is created by it. Technical systems are artifacts created and employed to amplify, modulate or attenuate the other domains so that the system can be internally and externally requisite and cybernetically responsive. Project Management is the philosophy, culture and methods employed by the system to efficiently allocate resources and monitor energy flow in the pursuit of finite, temporal objectives. Venture Management includes the philosophy, culture and methods employed by the system to determine (not just manage to) its cybernetic homeostasis and engage in complex activities designed to explore unknown opportunities for growth and transformation. It's often useful to create a matrix out of several of the models together. The 7 Domains goes nicely with the Vantage Points and the Creative Process models. You'll notice in the glyph definitions the frequent use of the words philosophy, culture and methods. Philosophy and Culture are the two broadest levels of vantage points. Methods refers to the Policy, Strategy, Tactics, Logistics and Task levels of the model.
  19. 19. SEVEN STAGES OF THE CREATIVE PROCESS Seven Stages of the Creative Process is one of the oldest of the MG Taylor Models. The original render-ing was done by Matt by hand and is extremely rich in meaning and detail. It shows four levels of recursion, beginning with the bipartite division between subjective and objective; creating the problem and solving it; individual and collective. It continues with the seven stages arranged so that the Insight stage is divided by the bipartite model beneath it. Each of the seven stages is further divided into six components, and these are divided into another seven pieces. The diagram clearly identifies and classifies 294 stages of the creative process at this deepest stage. This model has links with Scan Focus Act, Vantage Points, Creating the Problem, and Appropriate Response. IDENTITY VISION INTENT INSIGHT RING ENGINEERIN INS USING BUILDING B
  20. 20. Identity is about exploring, discovering, and understanding how the system produces the conditions. Using techniques of collabo-rative, creative design, the system is viewed from different vantage points. By exploring different perspectives a richer perception of the system is obtained, and assumptions confronted. A vision needs to address the new system at all of the Vantage Points, from philosophy to task. How do you envision the system working in the future? By building working simulations of new systems, alternatives are explored along with their effects. This makes clear how belief structures relate to the the system. Intent is the well of energy that you'll return to over and over while you're working to bring your vision to the present. How long can you live with the ambiguity and paradox of working in two different worlds? Insight. Usually, your vision brings with it lots of unknowns an gaps in understanding. The problem is not how to fix the conditions. It is how to imagine, design and allow for the evolution of new components of the system (or new systems) that will help the system create better conditions. Engineering is about designing and testing the vision(s) in cycles of rapid design, testing and failure in order to ferret out the more resilient designs. At each engineering failure, the designers must retreat to the Intent well to gather more resolve, push through for the next Insight, and test it in Engineering until an idea survives well enough to proliferate on its own. The Building stage works hand in glove with the previous one -- nothing can be engineered without being built. At the Using stage, the idea has been manifested, and the system is now producing new conditions. All of the people in the enterprise participate in the system, and can now truly evaluate whether the new conditions are better than the old ones. Of course, in the process of using, they all develop attachments and dependencies on the system as it is. The cycle begins over again with Identity.
  21. 21. S’POZE ENCOUNTER NEW NFORMATION PARADIGM S’POZE INCORPORATE S'poze links the creative process inherent in Scan Focus Act with the knowledge management process of the Ten Step Knowledge Management model. S'poze deals directly with the management of information as a whole in the total messaging event. Like Scan Focus Act, this is a naturally occurring model; we all use it every day. Our purpose in studying it is not so much to learn to incorporate it into our inventory of processes but to raise its activity to a level of conscious awareness. Strategies for Playing S'poze It may seem from looking at the model that the activity of S'poze is played outside of the host system, in some safe, confined area. This is not the case. S'poze is played in real life only with an element of risk. At the minimum, the activity will consume time and divert attention. It's always possible that when new information is admitted to a system it will behave in a viral manner, disrupting the organism's homeosta-sis. S'poze is always played inside the enterprise, even if in a safe, protected area, such as a planning session. S'poze doesn't happen somewhere out there. Nevertheless, playing S'poze is required for the organization to continue to learn, and also to spawn offspring that can successfully adapt to changing conditions in the wider ecosystem.
  22. 22. At the Encounter stage, the system's current Paradigm meets up with a high information messaging event. This means, simply, that the system is experiencing the effect of New Information that does not fit into its current model of how things work--its Paradigm. And it means that the potential effect of this information is of such a magnitude as to compel a conscious decision for handling it. (New) Information is the result of a system's interpretation of a message, including whatever meaning it assigns to the message based on past experience. The message itself is neutral. The measure of information is proportional to its uncertainty: the more surprising the message, the more information it contains. For a living system to make decisions, it must be able to compare the nature of sensory input that it receives to some model that predicts probable future outcomes based on stored previous experiences involving that input. The sum total of these situations and the guidelines stored in the system comprise its Paradigm. S’poze. It is not advisable for a system to accept any and all New Information to add to its Paradigm. The process of modeling enables the system to play what if without actually engaging in a potentially threatening experience. If the results of the simulation seem favorable, the system may incorporate the New Information into its Paradigm and begin making decisions based upon this new mixture. The Case for S'poze as a Linking Model Imagine the Creative Process as a huge playing board, with its seven circles representing the zones of play. Further, imagine the enterprise as a knowledge management engine, continuously running through cycles of events, documentation, storage in a K-base, distribution, design. In each of the stages, the enterprise can use S'poze to handle new information in a robust way. The entreprise also uses S'poze to process information in the transition from one stage to another. So not only must the enterprise be designed to manage the Ten Step Knowledge Management process, but it must employ the S'poze model to manage new information processing and learning within each stage of the Creative Process and between stages as well.
  23. 23. STAGES OF AN ENTERPRISE OVERSHOOT COLLAPSE LOOPING SUCCESS Green stands for times of stability and success. Orange stands for warning. Red indicates behavior far from homeostasis, which if allowed to continue, will lead to the death of the system. Blue represents times of flux around the entrepreneurial button. MATURITY TURNAROUND DEATH ENTREPRENEURIAL BUTTON CONCEPTION Stages of an Enterprise illustrates the life cycle of an enterprise or venture. After Conception, ideas go through a Looping stage of alternating success and near collapse before they become viable--capable of separate existence. This marks the Success stage: the enterprise understands as an organism how to maintain its metabolism, and how to grow. If the enterprise does not learn how to maintain homeostasis, it may overshoot its envelope of healthy growth and then rapidly collapse upon itself. Newly conceived ideas within an existing Enterprise, cannot become viable unless the Entrepreneurial Button is pushed. There must be an overt recognition of the need for and value of the new idea or it will not be allowed to grow. In Maturity, the Enterprise passes through probably its longest and most stable stage. This is also the most favorable time for spawning new enterprises. In time, ventures lose their ability to maintain homeostasis and begin to collapse. Usually this is due to a reduced ability to respond to or anticipate external or internal rates of change. Careful crafting allows the organization to make a Turnaround to the Maturity stage. Eventually all organizations reach their demise (Death). Usually this is good. Sometimes it's the easiest way for the enterprise to allow new ideas to escape and try for viability. And even if the name of the corpora-tion does not change, sometimes, its old self dies and a new one is born in its place.
  24. 24. Innovation versus Improvement Below is another modification of the model. In this case, instead of showing a peak at the Success stage which falls off to a lower Maturity plateau, the curve continues upwards at a gentle slope (blue), representing continuous improve-ment in the enterprise. To make a big leap of innovation, the Entrepreneurial Button must be pushed. This can mean the birth of an entirely new entity, unencumbered by the structures and culture of its parent, resulting in innovation (green) for the new entity. The parent may go on to struggle for quite a while, unable to transform itself from within. It can also mean that the parent organization undergoes a metamorphosis or rebirth, resulting in the intergenerational enterprise trajectory (red) which shows the parent organization making steady improvements and then leaping to a new level of innovation. Pushing the Enterpreneurial Button The Entrepreneurial Button is not simply a zone where transformation just happens. Pushing the button is a conscious decision. Much of the conceptual work will already have been done. The new idea will have passed through some looping already before the decision is made to launch it. An idea can be so powerful that it may seek out other people to launch it if no one in the parent organization is interested. Pushing the button may be a trigger point in moving the new idea/organization from Scan into Focus (see Scan Focus Act). The Entrepreneurial Button can be thought of as a membrane of sorts. It's both an incubator and crucible within which the new idea will be nourished and also besieged. It's most vulnerable at this point. Before entering the button, the idea is just an idea, but pushing the button sanctions it, making it a real opportunity or threat to some. Once it's out of the top side of the button's membrane, the idea has become a viable enterprise, capable of fending for itself. Only while it's in the membrane does it need special support and defense. This is an important point to keep in mind when designing DesignShops! ACT FOCUS SCAN NOTE: The button doesn't occur at some predetermined location in the model, although there are more or less favourable times--one of the most favourable being the period of maturity, just after success.
  25. 25. THE LEARNING PATH FIVE POINTS OF MASTERY Our human Learning Path begins at birth. From infancy, the learner embarks on a course that nourishes the innate love for exploration and FACILITATOR GUIDE discovery. A community expecting life-long learning and life-long contributions from its members acts to remove whatever blocks this natural process of growth. Just as every individual is unique, every learner's learning path is unique. We visualize these through a five part life learning model we call the Five Points of Mastery. Each individual, formally and informally, moves in and out of these roles throughout their life, gaining a level of mastery of each, as appropriate to his or her life stage. Moving between roles, responses change, responsibilities change and opportunities for growth change. Educational plans are conceived, developed, planned and executed with these changing roles in mind. LEARNER SPONSOR ADVOCATE ADVISOR STEWARD EXPERT
  26. 26. The Learner is an explorer, innovator, self-developer, model-builder and action-taker who is receptive to ideas and guidance, able to reflect and act creatively, learns how to access information and create value from it for oneself and for others. The Facilitator-Guide helps others frame their experience, by providing perspective, encouraging further exploration, guiding discussion and removing blocks to the creative process. The Facilitator crafts and delivers challenges that spark individual and team innovation and provokes Learners to break through imagined limits. The Sponsor-Advocate-Advisor provides the feedback and boundaries that ensure the learning path is effective and balanced. The Sponsor provides continuity and perspective. The Sponsor's challenge is to optimize the performance of the individual Learner's network. The Expert develops specialized knowledge to a high degree in a given body of knowledge and is a resource to others. Everyone has expertise to share. The Steward applies talents and knowledge in service to others--in stewardship of the community and ultimately of the world. Stewardship means holding a vision for yourself, your community, and your world, and being committed to actualizing that vision. Stewardship arises from the philosophy that all life is sacred rather than everything is a commodity.
  27. 27. THREE CAT REAL CAT The Three Cat model is a metaphor for information management in the act of creation. It may be easily played in a glass bead game with any number of other models, particularly the Seven Stages of the Creative Process. On the simplest level, the model summarizes the acts of observing reality, forming a concept, and testing that concept by building a model to reveal our understanding. The model is then compared to reality for verification, the concept is adjusted, the model rebuilt, and so on. MECHANICAL CAT CONCEPT CAT Real Cat stands for objective reality. Actually, we don't really ever see Real Cat. The information gathered through our senses is incomplete, so there's always more to learn. As we observe Real Cat, we create a Concept Cat to use as aids in decision making. We learn to associate current phenomena with past occurrences of similar phenomena. We make decisions based on projections of past behavior onto the current situation. In order to test our concept, we create physical models (Mechanical Cat) and compare them to reality. The artist paints; the engineer builds scale models; the business person turns to planning software and spread-sheets; the writer composes stories. There are two lines that connect any two cats. One line is a squiggle and the other has a triangle in the middle of it. The squiggle is the symbol for a resistor in electronics and refers to the attenuation of information traveling in that direction. The triangle is another symbol borrowed from electronics--an amplifier.
  28. 28. The Uses and Abuses of Two-Catting The model works great when it's employed with attention, craft and discipline. When one of the cats is removed from the iterative process, there is potential for both great value and danger. Because there are three cats in the model, there are three possible combinations of two-catting. Real Cat-Concept Cat Greatest value: When our lack of skill in building mechanical models hampers the formation of the concept, focusing on observation can help to establish a good mental model. Greatest danger: This practice allows unsubstantiated assumptions and errors to accumulate, as the validity of concepts remains unchecked. Concept Cat-Mechanical Cat Greatest value: Sometimes it's good to just do a core dump and tweak a model. Sometimes it's too expensive to return to the real cat over and over again to improve the concept. It is also a great tool for building a working model of your assumptions. Such a model can be used diagnosti-cally to discover any holes, inconsistencies or errors in your concept. Greatest danger: Without any reference to reality, it's easy to build up a sort of nonsense, fantasy world. In extreme cases, it's possible to believe that the Concept Cat is the Real Cat. Mechanical Cat-Real Cat Greatest value: Once we believe something about reality, it can be difficult to change. Eliminating Concept Cat from the equation can be useful in these circumstances. One technique for this is suspending judgment when testing a model with reality--especially a priori judgment. Greatest danger: Without engaging Concept Cat, we don't learn. No thinking involved. No growth potential.
  29. 29. VANTAGE POINTS STRATEGY LOGISTICS TASKS TACTICS The Vantage Points model looks like a topographic map with the boundary between each vantage point CULTURE POLICY representing a contour line. Whether you view it as a mountain or a valley is up to you(r PHILOSOPHY purposes). On the one hand, you can never understand the philosophy of a system or enterprise until you are immersed in the tasks that comprise its daily functions. The task provides a mental elevation from which the whole essence of the system can be contemplated. By observing people performing various tasks, by sensing the atmosphere, energy and ethics of the environment, one can determine the true expressed philosophy of any organization. On the other hand, sometimes immersion in daily tasks can blind people to culture and philosophy, or cause them to accept it too casually. From the bottom of the valley, the higher planes become progressively difficult to see and there is danger of accepting philosophies as truth on the basis of precendent behaviour. Philosophies accepted as models can be mastered, evaluated, and exchanged based on experience and exploration (see the 5 E's of Education).
  30. 30. Philosophy: the fundamental--usually hidden--beliefs that unite the components of an Enterprise, enabling them to act as a cohesive whole. Properly applied, philosophy enables both innovation and stability. Culture defines the various components of the Enterprise and their relationship to one another in action. Culture also encompasses standard behaviors of these components--behaviors which are manifestations of the Philosophy. At the broadest level, Policy refers to statements of purpose, intent and goals. At a narrower level, Policy can specify boundaries on the design and prosecution of Strategy, Tactics, Logistics and Tasks. Policy states the rules of the game. Strategy is the organization, disposition and direction of large scale forces over space and time to achieve the objectives of Policy, maintain homeostasis in a competitive and cooperative environ-ment, and manage growth. Also the set of recognized patterns of play known or suspected to produce favorable results when implemented. Tactics is the art of matching the resources of Logistics with Strategy and deploying these effectively and efficiently in the game. Logistics comprises all issues concerning resources, energy and knowledge, and the mechanics of their distribution and storage throughout the Enterprise. Tasks: the work to be done and how it's actually done. Chopping wood and carrying water. The way a tool is used and treated, of course speaks plainly of the philosophy and culture of the user. The seven Vantage Points hold mutual, feedback-driven influence over one another. It is possible to change one plane through one of the others. In fact, real change cannot be achieved without involving the other planes. The Vantage Points are meant to be managed and designed--used as templates and auditing tools. The Vantage Points break down into three overlapping zones for special types of management emphasis. Design and manage... ...Philosophy, Culture and Policy to steer evolution. ...Policy, Strategy and Tactics to steer operational and structural support. ...Tactics, Logistics and Tasks to steer the work to be done.
  31. 31. 10-STEP KNOWLEDGE MANAGEMENT The outside resources, departments and related projects are represented by the Business of Enterprise model. This is not entirely accurate, as the entire 10-step process takes place within the enterprise. In fact, there are hundreds of little 10-step models inside it, their webs connected to each other as well as to the environment. DOCUMENTATION (2) EVENT (1,10) K-BASE (3,7) TRACKING SYSTEM (5) READ AHEAD (9) DESIGN (8) FEEDBACK (6) DISTRIBUTION (4) OUTSIDE RESOURCES INDIVIDUALS AND DEPARTMENTS RELATED PROJECTS
  32. 32. The 10-Step Knowledge Management model is a way to visualise the way knowledge flows and is managed within a system. The cycle begins with an Event--some process undertaken by one or several Knodes (Knowledge Nodes) that produces information. The information is captured, encoded in the form of a message (Documentation), tagged for shipping, transduced across the Event membrane, and transferred via some signal, medium, and channel to the Knowledge Base. The K-Base serves as a repository, or data warehouse, and router for messages in the enterprise. The documentation is repackaged, encoded, transduced, and transmitted (Distribution) across the Web (Enterprise) to all parties that need the information as potential Compelling Input. Tracking records the condition, origin and destination of each message that crosses the K-Base membrane. It creates a history of the use of the K-Base. Knodes transmit information back to the K-Base concerning any State Changes they have experienced as a result of receiving and processing the original information (Feedback). The K-base stores the feedback. The original information and the feedback are used to Design the next iteration of work--the facilitation of the next event, or process. A Read-Ahead is advance information transmitted to the future event's participants to allow the system to ramp up for the event, instead of climbing the wall. The cycle ends as it begins with another Event. Note that the K-Base is embedded within the tracking system ring. This means that any message-bearing signal that enters or leaves the K-Base domain is logged--not just those from the distribution stage. Some information is also passed directly from one step to another without passing through the K-Base. In fact, the vast majority of information in practice is either passed directly from one step to another or lost from the system altogether. Enterprises and other living systems survive by manag-ing a small amount of the data that arrives at their senses, converting it into information and applying it experientially as knowledge. The model can be applied to an enterprise as well as a human being, or a project team. When we design an event for a group, the 10-Step Process will be used many, many times at different time scales. From quick snatches of conversation in passing to the documenting of the entire DesignShop event in a Journal. We want the design of the event to facilitate as many of those events between Knodes as possible, to encourage and preserve the integrity of the knowledge management process, and to stimulate it to deliver high-edge content as well.
  33. 33. FOUR STEP RECREATIVE PROCESS Create a vision for what you want to create. Create a template for your creation, in words, symbols, pictures, 3D, or some other physical medium. This template should represent your vision and be able to communicate its essence to others. Act. Make the creation real. Take the necessary steps to bring it into the world. Feedback. Discover how well the creation performs in the world. Does it fulfill your vision? How do others like it? Does it inspire new visions in you or in others? Between each of the steps, you must recreate what it is you are trying to do given the different and unique parameters of each of these different steps. FEEDBACK ACT CREATE VISION DESIGN TEMPLATE RECREATE RECREATE RECREATE RECREATE
  34. 34. How do you create what you want to create? How do you share your vision with others to allow them to help you create what you want to create? How do you measure the success of what you have created? These are the questions that the Four Step Recreative Process model addresses. This model is related to the Seven Stages of the Creative Process model--each highlights different aspects of the same process. As ideas travel from metaphysical to physical reality, they are expressed in different forms. Through (these) iterations, they are transformed. The distiction between these two models lies in the fact that an idea does not smoothly evolve through (the seven stages of ) the creative process; it transforms through re-creation at each of the major transition points along the path. This recreation is forced by many factors. Primary ones are iteration: the feedback to an individual or group of their own work (as an output) - from self or from others - and how this effects their concept, intension and subsequent work; recursion: the passage of time and (as an input) the ongoing influences from new, self induced thoughts, from colleagues, society and stimuli from the world at large; and, in most projects, the form a work takes as a natural consequence of development, modeling, communication and testing. In the traditional version of the model on the previous page, the four steps form a cycle. Because each step is a fundamentally different creature, you must recreate what it is you are trying to do between each of the steps. In a dynamic version of the model (below), recreation forms the centre out of which each stage is launched and back to which each stage returns before being recreated into the next stage. The model is fractal in nature--the entire model is contained in each of its steps. During the template creation phase for example, one creates a vision for the template, a template for the template, one acts to bring the template into existence, and gathers feedback on it to establish if it is appropri-ate for conveying one's vision.
  35. 35. DESIGN FORMATION PRODUCTION MANAGEMENT CONTRACT DOCUMENTS DESIGN DEVELOPMENT PRELIMINARY DESIGN SCHEMATIC CONCEPT PROGRAM EVALUATION Design Formation is the grandest symphony among all of the models. Like the other models, it is fractal in nature. It also incorporates many of the previous models (5 E's of Education, The Learning Path, Seven Stages of the Creative Process, Design Build Use, Stages of an Enterprise). Because the model is so concep-tually rich, this brief description can only provide a mere glimpse of its complexity*. Design Formation represents a variant of a process employed by architects and builders the world over, yet also applies to design and facilitation of change by the Transition Manager. It includes the following elements: • Bringing intention to the process of invention • Asking the question, what is it that asks for shape and form • A shared sense of exploration, surprise and discovery among all the members of the design team • A process of bringing something into being • The actual thing brought into being • A model about modelling *Interested readers can find a more elaborate description on www.mgtaylor.com.
  36. 36. The preliminary design represents the first serious tug and pull between program and product. Facilitate this part of the process so that both the program and the design are challenged, leveraged above their own expectations and transcend competition. At this point it's probably clear to someone that the execution of the project is impossible. Don't attenuate the design based on such an assumption. The belief that something is impossible is a sign of ignorance. Employ this sign as a tool to build a more robust body of knowledge. Learn. Create new experiences instead of relying only upon past experiences. During design development, constantly hold the field of the pure intent of the program. By this time, if you've facilitated properly, the program is very powerful and can overcome any obstacles because the co-designers will be living in the vision. Bring the art and skill of whatever specific design elements you're working with to the vision; don't compromise the vision to suit the current skill level. Invent new tools. Invent new skills. Facilitate the contract documents stage to the deepest level of understanding and commitment from the extended team that you can. The details should prove beyond a doubt that the program is attainable--regardless of the difficulty. Production management brings about the most tangible result of the entire process. As the result takes form it will undergo rapid, just-in-time modifications. Embrace the speed, energy and vibrancy of this process. The evaluation allows everyone to pause at any time during the process to contemplate, reflect, move around in the new intangible or tangible space that they are creating together, and gather resolve to push forward. Move between the stages as necessary. Avoid linearity. Visit evaluation frequently. Remember that the model (like all of the models) is fractal. There is a production management component to the program and a program component to production management. There is a level of commitment or contract documents that needs to be brought to each stage. Schematics can always play a role to help uncover solutions rapidly and identify strong patterns without confusion.
  37. 37. Glyph Jisho A glossary of the glyph language used in the models
  38. 38. To examine a small area closely. To look a wide area over quickly but thoroughly. To search to analyze rising and falling rhythms in verse. To climb, mount. SCAN A point to which something converges or from which something diverges. To adjust for distinct-ness or clarity. Fireplace, hearth. FOCUS The process of doing or performing something. An enactment or decree. To drive to do. To push, propel or push forward. ACT The return of a portion of the output to the input, especially when used to maintain the output within predetermined limits. FEEDBACK Glyph Jisho
  39. 39. Glyph Jisho The power or capacity to produce the desired effect. Ability to achieve results. To execute, make; perform, work out. To effect. EFFICACIOUS Breadth or opportunity to function. The area covered by a given activity or subject. Watcher, goal, aim. PROPER SCOPE The forces or processes of the physical world, generally personified as a female being. The order, disposition and essence of all entities composing the physical universe. The aggregate of a person's instincts, penchants and preferences. To be born, birth. TRUE TO NATURE To feel or realize beforehand; foresee. To act in advance so as to prevent; prejudice; forestall. To foresee and fulfill in advance. To cause to happen in advance; accelerate. To take before. ANTICIPATORY Able to realign itself to an equilibrium; able to maintain homeostasis. Correcting or compensating for one's own errors or weaknesses. SELF-CORRECTING A method of harvesting or using a resource so that the resource is not depleted or permanently damaged. The ability to be maintained, supported, upheld, or endure. Latin: sustinere (tenere, to hold; sub, up). SUSTAINABLE
  40. 40. Glyph Jisho To conceive, invent, contrive. To form a plan for. To draw a sketch of. To have as a goal or purpose; intend. A visual composition; pattern. To mark out; sign out. DESIGN To form by combining materials or parts; to erect; construct. To give form to according to a definite plan or process; to fashion; mold; create. To establish and strengthen. To establish a basis for. BUILD To bring or put into service; employ for some purpose. To consume or expend the whole of. The permission, privilege or benefit of using something. The power or ability to use something. The quality of being suitable or adaptable to an end. The goal, object or purpose for which something is used. USE
  41. 41. Glyph Jisho To look forward to the probable occurrence or appearance of. To look out at. EXPECT (EXPECTATION) To make plain; remove obscurity from. To define, explicate. To offer reasons for, or a cause of. To spread out; completely flat plain. EXPLAIN To explain by example. Someone or something worthy of imitation or duplication. Serving as an illustration, a model, or an instance. To take out. EXEMPLIFY (EXAMPLE) The apprehension of an object, thought, or emotion through the senses or the mind. Active participation in events or activities leading to the accumulation of knowledge and skills. To try, test. EXPERIENCE To make plain; remove obscurity from. To define, explicate. To offer reasons for, or a cause of. To spread out; completely flat plain. EXPLORE
  42. 42. Glyph Jisho A person who buys goods and services on a regular basis. To become, to accustom. CUSTOMER (CONSUMPTION) One who spends or utilizes time, money or effort for future advantage or benefit. To besiege. To clothe in, surround. INVESTOR (INVESTMENT) The act, manner or practice of directing or controlling the use of. To direct or administer. Hand, handle. To mete out, dispense. To be an aid, minister to, servant. MANAGEMENT One who brings forth, creates by mental or physical effort. One who causes to occur; one who leads forward. PRODUCER (PRODUCTION)
  43. 43. Glyph Jisho The particular mode or state of being of a person or thing. The existing circumstances. Latin: conditio, agreement, stipulation, from condicere, to talk together, agree. CONDITION That which is or has been seen. Unusual competence in discernment or perception. A mental image produced by the imagination. The mystical experience of seeing as if with the eyes the supernatural or a supernatural being. Latin: to see. VISION A question or situation that presents uncertainty. A question put forward for discussion or solution. Greek: problema, thing thrown forward, projection, obstacle. PROBLEM Tension: a force tending to produce elongation or extension. Voltage or potential; electromotive force. Creative: the power to cause to exist, bring into being, originate. CREATIVE TENSION (TUG AND PULL)
  44. 44. Glyph Jisho State or fact of knowing. The sum or range of what has been perceived, discovered. Understanding gained through experience, study. Confess, recognise. The content of a book or document. Container. BODY OF KNOWLEDGE (KNOWLEDGE) Process: a system of operations in the production of something. A series of actions that bring about a result. Proceed. Facilitation: to free from difficulties or obstacles; make easier, aid, assist. Easy. PROCESS FACILITATION To provide with knowledge or training. To discipline, train or devleop. To bring up. EDUCATION Something that supports. The total of circumstances surrounding an organism or group of organisms; combination of external or extrinsic physical conditions that affect and influence the growth and development of organisms. To turn around the circle. ENVIRONMENT Derived from the systematic procedure by which a complex or scientific task is accomplished. Abstract or theoretical. According to principle; industrial/mechanical. Pertaining to or involving technology. Skill, art. TECHNICAL SYSTEMS (TECHNICAL) Project: a plan or proposal; scheme. To transport in one's imagination. to cause an image to appear on a surface. To throw forth. Management: the act, manner or practice of handling or controlling something. To direct the use of. PROJECT MANAGEMENT Venture: an undertaking that is dangerous, daring, or of doubtful outcome. To take a risk or dare. To arrive. Management: the act, manner or practice of handling or controlling something. To direct the use of. VENTURE MANAGEMENT
  45. 45. Glyph Jisho VISION That which is or has been seen. Unusual competence in discernment or perception. A mental image produced by the imagination. The mystical experience of seeing as if with the eyes the supernatural or a supernatural being. Latin: to see. To give form to according to a definite plan or process; to fashion, mold, create. To establish and strengthen; create and add to. Old English: a dwelling. BUILDING To bring up or put into service; employ for some purpose. To consume or expend the whole of. USING The collective aspect of the set of characteristics by which a thing is definitely recognisable or known. The quality or condition of being or remaining the same. Latin: the same. IDENTITY Aim, purpose, meaning, purport. Firmly fixed, concentrated. Having the mind fastened upon some purpose. Latin: to stretch toward. INTENT The capacity to discern the true nature of a situation. An elucidating glimpse. Old English: thing seen within. INSIGHT To plan, construct and manage as an engineer. To plan, manage, and put through by skillful acts. Latin: contriver, talent. ENGINEERING
  46. 46. Glyph Jisho To meet or come upon, especially casually or unexpectedly. To meet, especially in conflict. ENCOUNTER A numerical measure of the uncertainty of an experimental outcome. Knowledge derived from study, experience, or instruction. A non-accidental signal used as input to a computer or communication system. NEW INFORMATION Any example or model. [In our case, a world model used by the controller of a system to make decisions based upon input to the system and past experience.] PARADIGM To assume to be true for the sake of explanation or argument. To conjecture. To substitute, put under, forge. S’POZE To cause to merge or combine together into a united whole. To unite with or blend indistinguishably into something already in existence. To form into a body. INCORPORATE
  47. 47. Glyph Jisho The ability to form mental concepts; invention. The formation of a zygote capable of survival and maturation in normal conditions. Concept, plan, design, idea. To take to oneself. CONCEPTION A length of line folded over and joined at the ends to form into a loop. Loupe. Imperfect gem. A small magnifying glass used by jewelers. LOOPING The achievement of something desired, planned or attempted. To follow closely, go after, to go toward. SUCCESS OVERSHOOT AND COLLAPSE To go beyond, to miss by or as if propelling something too far. To fall down or inward suddenly. To cease to function, to break down suddenly in health or strength. Slide together; fall in ruin. Fully developed. Worked out fully by the mind. The state of a note, bill or bond being due. MATURITY TURNAROUND To cause to move around in order to achieve a desired result. To reverse the course of. Unsettle, upset. A chance or opportunity to do something. Lathe, tool for drawing a circle. ENTREPRENEURIAL BUTTON Organizing, operating and assuming the risk for business ventures to undertake--to take between; to strike against, thrust, pierce. Termination, extinction, loss or absence of DEATH spiritual life.
  48. 48. Glyph Jisho Someone who gains knowledge, comprehen-sion or mastery of through experience or study. Acquire through experience. LEARNER Sponsor: one who vouches for suitability of a candidate or assumes responsibility for a person or group during apprenticeship. Latin: to make a solemn pledge. Advocate: To speak in favor of; recommend. Latin: one summoned to give evidence; to call or summon. Advisor: to see to; according to my view. SPONSOR-ADVOCATE-ADVISOR Facilitator: one who frees from difficulties or obstacles, makes easier, aids or assists. Latin: facile, easy (i.e. to do or to make). Guide: to look after, guard; to show the way. Wisdom, wise man, counselor. FACILITATOR-GUIDE Person with a high degree of skill or knowledge in a certain subject. Latin: to try; (i.e. risk, lead over, press forward, to learn by experience). EXPERT STEWARD Keeper of the hall. Ward of the hall.
  49. 49. Glyph Jisho Real: being or occurring in fact or actuality; having verifiable existence. Existing actually and objectively. Thing. REAL CAT Concept: a general idea or understanding, especially one derived from specific instances or occurrences. To take to oneself; to take comprehensively CONCEPT CAT Mechanical: of or pertaining to machines or tools. Pertaining to, or governed by mechanics. Pertaining to, produced by or dominated by physical forces. Interpreting and explaining the phenomenon of the universe by referring to causally determined material forces. Contrivance, machine--means, expedient MECHANICAL CAT
  50. 50. Glyph Jisho Loving wisdom. The investigation of causes and laws underlying reality. Inquiry into the nature of things by logic instead of empirically. Any system of motivating concepts or principles of a culture. PHILOSOPHY CULTURE Cultivation, tilling. The totality of socially transmitted behavior, patterns, arts, beliefs, institutions, and other products of human work and thought. To show off, display, citizen. A written contract. A course of action, guiding principle or procedure deemed expedient, prudent or advantageous. POLICY STRATEGY The General. Overall planning and conduct of large scale operations. A resulting plan of action. The art or skill of using stratagems. To lead an army. To arrange in order. The technique of securing objectives designated by strategy. The art of directing units against the enemy. TACTICS To calculate, reckon. Procurement, maintenance, replacement of materiel and personnel. Skilled in arithmetic calculation. LOGISTICS To tax. The function that a working person, unit or thing is expected to fill; objective. TASKS
  51. 51. Glyph Jisho FEEDBACK A coming out... to come out from. An experience of some significance. A coincidence of two or more point objects at a particular position in space, at a particular instant in time. The return of a portion of the output to the input especially when used to maintain the output within predetermined limits. EVENT To note down, to mark. Lesson, example, warning, to teach. Anything serving as evidence or proof. To support with citations, annotate. DOCUMENT KNOWLEDGE BASE The sum or range of what has been perceived, discovered or inferred. Skill, understanding, experience. Familiarity, awareness. To allot, grant apart. Dispersion, diffusion. Divide and dispense in portion. DISTRIBUTION To draw, pull. Trace, trail. To follow the footprints or traces of. TRACKING DESIGN To conceive, invent, contrive; to form a plan for. To draw a sketch of. Intend. To have a goal or purpose. Designate. To mark out. Read: to comprehend or take in the meaning of. To seek to interpret the true nature of. To ascertain intent of. To foretell or predict. To perceive, receive or comprehend. Advise, explain. READ AHEAD
  52. 52. Glyph Jisho The return of a portion of the output to the input especially when used to maintain the output within predetermined limits. FEEDBACK The process of doing or performing something. An enactment or decree. To drive to do. To push, propel or push forward. ACT That which is or has been seen. Unusual competence in discernment or perception. A mental image produced by the imagination. The mystical experience of seeing as if with the eyes the supernatural or a supernatural being. Latin: to see. VISION A pattern or gauge used as a guide in making something accurately or in replicating a standard object. Often a piece of wood or a thin metal plate. Old French temple: a wooden device in a loom that keeps the cloth aligned during weaving. Temple: sanctuary TEMPLATE To impart fresh life to. RE-: again. CREATE: to cause to exist; to bring into being; to cause to grow. Latin: to cause to grow anew. RECREATE
  53. 53. Glyph Jisho Greek: to write before. A procedure for solving a problem. Any organized list of procedures. PROGRAM SCHEMATIC CONCEPT Latin: form, figure. A structural or procedural diagram, esp. of an electrical or mechanical system. + Latin: a thing taken to oneself. A general idea or understanding, esp. one derived from specific instances or occurrences. Latin: before the threshold. Prior to or preparing for the main matter, action or business. + Latin: to mark out. A drawing or sketch. The invention and disposition of the form, parts, or details of something according to a plan--a visual composition. PRELIMINARY DESIGN Latin: to mark out. A drawing or sketch. The invention and disposition of the form, parts, or details of something according to a plan--a visual composition. + Latin: to unwrap. The act of expanding to realise the potentialities of; bringing gradually to a fuller, greater, or better state. DESIGN DEVELOPMENT To draw together an agreement between two or more parties, especially one enforceable by law. + Latin: lesson, example, warning; to teach. A written or printed paper bearing the original, official or legal form of something. CONTRACT DOCUMENTS The act or process of causing to occur or exist. Latin: to lead forward + the act, manner or practice of directing or controlling the use of; to handle. PRODUCTION MANAGEMENT EVALUATION To ascertain or fix the value of.
  54. 54. Axioms
  55. 55. Axioms Past, Present, and Future: Embracing Ignorance to Navigate through Time The future is rational only in hindsight. You can't get there from here but you can get here from there. Discovering you don't know something is the first step to knowing it. The Unfolding and Enfolding of Shared Experience Everything someone tells you is true: they are reporting their experience of reality. To argue with someone else's experience is a waste of time. To add someone else's experience to your experience--to create a new experience--is possibly valuable. 4. 5. 6. Comprehending Laughter, Value and the Innite Solution Set You understand the instructions only after you have assembled the red wagon. Everyone in this room has the answer. The purpose of this intense experience is to stimulate one, several, or all of us to extract and remember what we already know. Creativity is the elimination of options. If you can't have fun with the problem, you will never solve it. The only valid test of an idea, concept or theory is what it enables you to do. In every adverse condition there are hundreds of possible solutions. 7. 8. 9. 10. 11. 12. Choosing to Fail and Succeed You fail until you succeed. Nothing fails like success. 1. 2. 3. 13. 14.
  56. 56. a of a model is a representation of reality is a manifestation of a model is a representation of reality is a manifestation of produced by Christal Gadiot All models © MG Taylor Corporation www.mgtaylor.com

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