In the groove
dave davison
His reference to the bass, piano and drums "laying down" the rhythm so that the other jazz musicians could integrate their own improvisations along the rhythm line makes me wonder - how do you provide a rhythm for virtual teams who are not in direct face to face contact with one another.
How can virtual teams "get in the groove"
Dave Davison
--
Dave Davison
David Meggitt
I know the lady who can give us a pretty solid answer but she won't
write it here.
Been pondering and working on this for four years, with value network
perspective as the frame.
The clues are vibration and energy... too whackey for some, even me,
initially, as an engineer.
David Meggitt
Cindy Gordon
It is a fabulous link to virtual teams as well as each touch point in real life or second life communications. The beat can be seen by the tempos of the context waves. Email sends signals, Face to Face, virtual worlds, voice on the phone, and non verbal when we see someone for the first time is a heavy jamming brain wave experience.
We use the jamming metaphor a lot in the work we do - it illustrates the complexity of social interactions, but also the realities of life is a series of projects - people ebb and flow but we stay connected.
The other new book out I just picked up is In pursuit of Excellence by Mathew May who also wrote the Elegant Solution. Another good intellectual romp words of Daniel Pink, author of A While New Mind and the Adventures of Johnny Bunko on In pursuit of Excellence.
I look forward to reading the PhD papers and will respond back when I have done so. It is always wonderful seeing talent spread their wings and create meaningful connections. Best wishes and thanks for the sharing.
Cindy Gordon Ph.D.
CEO
Helix Commerce
647 477-6254
www.helixcommerce.com
www.helixtalent.com
www.2bevirtual.com
Sergej van Middendorp | Miles Ahead
A great question Dave. I once had a talk with Verna about this a few years ago. One of the ideas we came up with was the pace of meetings. Mostly, in my experience, meetings are focused on content. In some projects, we skipped meetings because there was no news or content to discuss. What other purposes might meetings serve? Is skipping a meeting the same as skipping a beat? What does skipping meetings mean for the groove? Verna asked me.
David, resonance I think is a key concept here. Biologist turned philosopher Rupert Sheldrake has interesting things to say here. Even though controversial, his thinking to me sounds too beautiful not to be true (as in Keats: Beauty is truth, truth beauty ;-) http://englishhistory.net/keats/poetry/odeonagrecianurn.html
Cindy, thanks for the encouragement and for sharing how you use jamming as a metaphor in Helix. I have Kao's book. It's great. If you want to explore more here's a nice bibliography by a Fielding alumn who is also into organizational improvisation: http://www.meyercreativity.com/reading.htm
Look forward to your comments!
Cheers, Sergej
Met vriendelijke groet / Kind regards,
Sergej van Middendorp | sergej.van...@milesahead.eu | +31681430728
New research on the site, three papers on groove: http://www.milesahead.eu/onderzoek/publications
* Researching | Fielding Graduate University | What creates a groove in a value network?
http://www.fielding.edu
* Developing | Jazzinbusiness | How can we live the jazz in worklife?
http://www.jazzinbusiness.nl
* Consulting | Miles Ahead | How can we get your value network in groove?
http://www.milesahead.eu
Jeff Lindsay
A related musical metaphor for innovation and the ecosystem around the innovator is that of the hornist whose crude buzz into the mouthpiece is transformed by the internal surfaces and valves of an innovation system into melodious tones coming out the bell of the horn. Here the horn replaces the funnel as a model for the changes to innovative concepts (the breath or voice of the innovator/hornist) - in a sense, it is the funnel of innovation turned upside down. At the bell of the horn, the key to being on tune is for the hornist to have his or her hand in the bell to adjust the final output into the concert hall /ecosystem /marketplace. This technique of "handstopping" was developed by German musician A.J. Hampel (building on the work of others, perhaps) to allow his horn with changeable sections or crooks to be able to play all the notes of the scale, not just the natural harmonics. His system of changeable crooks, which allowed the horn to be an orchestral instrument for the first time, was called das Innovationshorn - the Innovation Horn(!) - which we use for an extended innovation metaphor in Conquering Innovation Fatigue (just released by John Wiley and Sons).
One of the many barriers to innovation in some corporations and elsewhere is the isolation of would-be innovators from the marketplace and the insights and feedback that come from the ecosystem. (consumers, etc.). We argue that innovators need to be included more thoroughly and be part of the iterative feedback loop that the hornist relies on to continually adjust pitch and timbre, tweaking input to the "horn of innovation" at the mouthpiece and participating throughout, including playing an active role in the final shaping with a hands-on approach at the bell. If the hornist were isolated from the score, from the signals of the director, and from the feedback loop involving the output into the environment, the music would quickly be off-tune and would be just another unwanted input to be winnowed out of the innovation funnel--wasted breath--instead of meaningful, targeted innovation that will become refined and enhanced by corporate processes for higher odds of marketplace success. This is the "Horn of Innovation" concept that is tied to theme of listening to and including the "Voice of the Innovator" to promote innovation success and overcome some of the fatigue factors that affect innovators at a personal level. I think it's all consistent with the value network lens when applied to innovation.
Here's a figure illustrating the concept. We used it briefly in a Co-Dev 2009 workshop presentation (also Exh. 2.3 in the book):
OK, it has it's limitations, but as has already been noted with respect to the jazz metaphor of "being in the groove," I think there is much that can be learned from the world of music when applied to business and to innovation in particular.
Speaking of feedback loops, any feedback on the concept would be appreciated. Thanks!
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Jeff Lindsay
Director of Solution
Development
Innovationedge ▪ http://innovationedge.com
Email: jlin...@innovationedge.com
Office:
920.967.0466 ▪ Mobile: 920.428.1878 ▪ Fax: 920.967.0465
1526 S. Commercial
Street, Suite 200 ▪ Neenah, WI 54956
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Hot off the press: Conquering Innovation
Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley
& Sons, 2009).
This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you.
From: Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of dave davison
Sent: Friday, July 03, 2009 11:24 AM
To: Value-N...@googlegroups.com
Subject: In the groove
John Maloney
Hi –
Good timing! MJF starts today…
Highly recommended! (Went for many years…)
Cheers –
John
<BR
Jeff Lindsay
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Jeff Lindsay
Director of Solution
Development
Innovationedge ▪ http://innovationedge.com
Email: jlin...@innovationedge.com
Office:
920.967.0466 ▪ Mobile: 920.428.1878 ▪ Fax: 920.967.0465
1526 S. Commercial
Street, Suite 200 ▪ Neenah, WI 54956
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Hot off the press: Conquering Innovation
Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley
& Sons, 2009).
This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you.
From: Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of John Maloney
Sent: Friday, July 03, 2009 8:13 PM
Benoit Couture
Salut,
While we are into the musical metaphors, being a string instrument player means that the music cannot begin until the tuning of each instrument takes place.
Once in tune, jaming can begin. That is when and how we get a sense of who can do what and of who has what to offer to the jam. Gradually as we play, the sounds and textures begin to assemble and the groove becomes palpable.
This is the point at which brain stroming either settles into a tune we can all enjoy and implement to our repertoire, or else, it becomes a moment in time at which we discovered some limitations that may or may not be overcome.
This is then the time to sit back to let the sound settle into observing quietness, in order to find out if we can move on past the limitations and go on with the tune at hand, or else, to start up on another one.
So far, I have come to view VNA as the universal sound that seeks the tuning fork of human endeavours. The Clusters are the jamming sessions (tuning, discoveries and brainstorming) and the times between face-to-face meetings are for each participant to cultivate the skills and dexterity on time for the next jam session.
Of course, the tuning fork is the Spirit of Life, Who carries on all forms of music that keep on moving and driving humans with the inspiration of justice-peace-joy, hope-faith-love, which is the framework of innovation.
Outside of such tuning's range, only noise or empty sounds or cohesive evil can come out of jamming. The safety of the road ahead for human endeavours is to stay within the range of the Spirit.
Peace,
Benoit Couture
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John Maloney
Hi –
Music, improvisation, rhythm, swing and groove are all important metaphors of knowledge work and often literally properties of leadership.
Too often people conflate management with leadership. They are categorically different and unrelated. Supervision and management has a sound, but only leadership has melody, for example.
Anyway, it is interesting exercise to assign songs, artists or composers for a soundtracks of business people, structures and activities. Often, my Pandora station depends on the task underway. Here are some ideas.
People, Structure, Activity Song, Artist, Composer
Enterprise 2.0 Kumbaya
Bureaucracy The Wheels on the Bus
Bernie Madoff My Way (Sinatra)
Hedge Funds Ride of the Valkyries (Wagner)
Palin Whipping Post (Allman Bros)
Obama Call It Stormy Monday (Walker)
BPR Chopsticks
VNA Miles Davis, Wes Montgomery AND Charlie Parker
GM Management Motörhead
UAW Sex Pistols
Innovation John Cage, Philip Glass
Create, add and invent your own.
Happy US Independence Day!
Cheers,
-j
P.S. A near and dear friend dropped her debut album in Hollywood a couple weeks ago. It has been exciting and busy time. It is the perfect soundtrack for this group! It is on iTunes and Amazon. Highest personal recommendation -- get it today!
The title, Bible Belt, is apropos, given the missionary zeal of everyone!
Diane Birch : http://www.myspace.com/dianebirch
Bible Belt : http://bit.ly/NxrHa
Cindy Gordon
John Your brilliance is special – thnks for the thoughts I have my team adding to this –
I used to sing Wheels on the bus to my children when growing up – so the comparison is not something I would have thought of but words of the song do churn out continual motion not necessarily going anywhere
Happy holiday
Cheers
Cindy Gordon Ph.>
From:
Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of John Maloney
Sent: Saturday, July 04, 2009
11:31 AM
To:
Value-N...@googlegroups.com
Subject: RE: In the groove
Hi –
John Maloney
Hi Cindy –
Yeah, as you (and others) know from our collaboration on shared projects, we believe fun and humor are an essential quality and intangible of effective leadership and successful collaboration.
Worthwhile knowledge and breakthrough innovation always travel the pathways of high spirits and lightness-of-being. Melancholy, over-serious personalities and bullies have no capacity for leadership. They are the failing de-energizers in the value network. Even though network dynamics naturally and quickly identify and isolate these morose souls, they can be a serious issue, particularly in traditional orgs, in dealing with everyday incompetence and with difficult people and perceived positional power.
In a value network power is not an ascribed property. Influence originates from emergent network patterns only. Even top value network exponents struggle with this immutable, widely proven characteristic of authentic soc/org/val networks.
Our good friend Gary Hamel really captured how a value network ACTUALLY works when he was describing Gen-Y online behaviors in his famous WSJ blog entry this year. Have a look below. Modestly paraphrased with the best online intentions, exactly how Gary described and would have wanted!
Value Networks 101- Characteristics and Behaviors – Original Attribution to Gary Hamel
1. All ideas compete on an equal footing.
In value networks every idea has the chance to gain a following—or not.
No one has the power to kill off a subversive idea or squelch an embarrassing
debate. Ideas gain traction based on their genuine merits, network emergence and
flow paths rather than on the perceived and self-appointed political power
of their sponsors.
2. Contribution counts for more than credentials.
When you are active in a value network, position, title, history, experience
and academic degrees—none of the usual status differentiators—carry
much weight. In the value network, what counts is not your resume, but what
you can contribute.
3. Influence, power is natural, not prescribed.
In value networks there may be roles which have more influence. Critically,
though, these roles haven’t been appointed by some superior authority.
Instead, their clout reflects the freely given approbation of the network.
In the value network, authority is determined by outcomes, not phony mandates.
4. Leaders serve rather than preside.
In the value network, all leaders are servants; no one has the power to
command or sanction. Credible arguments, demonstrated expertise and
selfless behavior are the only levers for getting things done through
the value network. Forget this key property, and people will abandon you fast
and the value network disintegrates completely.
5. Tasks are chosen, not assigned.
Value networks are an opt-in economy. Whether contributing to a project,
working on strategy, or executing to plan, people choose to work on the things
that interest them. Everyone is an independent contractor, and everyone
scratches their own itch.
6. Groups are self-defining and -organizing.
In the value network, you get to choose your compatriots. You have the freedom
to link up with some individuals and ignore the rest, to share deeply with some
folks and not at all with others. No one can assign you an inappropriate task, no
can force you to work with dim-witted colleagues.
7. Resources get attracted, not allocated.
In large organizations, resources get allocated top-down, in a politicized,
Soviet-style budget wrangle. In value networks, human effort flows towards
ideas and projects that are attractive and fun, and away from those
that aren’t. In this sense, value networks are a market economy where
individuals decide, moment by moment, how to spend the precious currency of
their time and attention.
8. Power comes from sharing information, not hoarding it.
To gain role influence and value network status, you have to give away your
expertise and content. And you must do it quickly; if you don’t, someone
else will beat you to the punch. In emergent value networks there are a lot
of incentives to share. It’s the shared outcome not the hoard that is
the reward.
9. Opinions compound and decisions are peer-reviewed.
When operating in value networks truly smart ideas rapidly gain a following no
matter how disruptive they may be. Networks is a near-perfect medium for
aggregating the wisdom of the crowd—whether in formally organized
opinion markets or in casual discussion groups. The value network is a
battering ram to challenge and defeat the entrenched interests and
institutions.
10. Users can veto most policy decisions.
As many bossy moguls have learned to their sorrow, value networks are
opinionated and vociferous—and will quickly attack any decision or policy
change that seems contrary to the network interests. In authentic value
networks performance and prosperity originates from the networks that have a
substantial say in key decisions. You may have built the concept, identified
the value network, but the roles really own it and you only serve it.
11. Intrinsic and intangible rewards matter most.
Value networks are the testament to the power of intrinsic and intangible
rewards. Human beings will give generously of themselves when they’re
given the chance to contribute to something they actually care about. Tangibles
like money are necessary, but it’s recognition, the joy of accomplishment
and above all, outcomes, that matter most.
12. Value networkers are heroes.
Large organizations tend to make life uncomfortable for activists and
rabble-rousers—however constructive they may be. In contrast, value
networks frequently embrace those with strong anti-authoritarian views since it
is often the only way to drive innovation. Value networks are celebrated as
champions of authentic democratic values—particularly when productivity
growth, innovation and prosperity are the outcome.
After more than a decade of value networks leadership and as practitioner, its apparent adopting these behaviors by people is harder, a LOT harder than you might think. Traditional methods and staggering arrogance is so deeply engrained in even the most clever and progressive business people that it can make the value networks transformation impossible for them.
On the bright side, managerial intransigence vis-à-vis value networks is mostly a generational issue. All the value network properties above are innate and transparent to new workers, authentic value networkers and shapers of the future. Fortunately there are still enough open-minded Baby Boomers around that have enough discipline to unlearn and wall-off 20th century styles of authoritarian command and control. These are the fun, good-humored leaders that create the future.
Cheers,
John
Cindy Gordon
Thanks for this I will post this knowledge in the Manufacturing Innovation Center that founder Jim Basille (RIM) has set up in Canada. This is an industry in need of major rethink.
cmg
Cindy Gordon
Sergej van Middendorp | Miles Ahead
Some ideas in red to add to your very funny post.
Hierachy: Beethoven's fifth: http://www.youtube.com/watch?v=zhcR1ZS2hVo
Value Network: Miles Davis: Bitches Brew: http://www.youtube.com/watch?v=vda7n18pjvI
-----
Radical Innovation: Keith Jarrett's Köln Concert: http://www.youtube.com/watch?v=jzqMJWlKMsY
Product Innovation: U2
Process Innovation: Stock Aitken and Waterman: 30 hits form 30 artists on the same three chords: http://www.youtube.com/watch?v=NhYFuLtVJU8
Cheers, Sergej
Sergej van Middendorp | Miles Ahead
Thanks for sharing that. What I like particularly about the visual is that the metaphor captures the complete spectrum from thinking to doing and reflection from the market. Very powerful, as in larger organizations innovation would often be distributed among teams or departments. Your metaphor brings it back to a living system in tune with its environment.
I also like how it ties into system dynamics thinking (at least that's what it does for me) with the valves, alternative pathways and feedback loop.
It also captures the notion that there is sensing and brains involved on the one hand, and embodied action in the world on the other. Thereby bridging the gap between empirical and phenomenological perspectives.
Very nice! Thanks again for sharing.
Cheers, Sergej
Sergej van Middendorp | Miles Ahead
Thanks you for this beautiful post.
What would you say could be structures that help with this tuning? Structures that could be laid down as starting points for a Value Network? Structures, as in organizational systems, that help the tuning and the groove emerge?
Cheers, Sergej
John Maloney
Hi –
To be in the groove, do we need avoid the squares?
“In the parlance of jazz, a square was a person who failed to appreciate the medium, hence (more broadly) someone who was out of date or out of touch. In the counterculture movements that started in the 1940s and took momentum in the 1960s a "square" referred to someone who clung to repressive, traditional, stereotypical, one-sided, or "in the box" ways of thinking. The term was used by hipsters in the 1940s, beatniks in the 1950s, hippies in the 1960s, yippies in the 1970s, and other individuals who took part in the movements which emerged to contest the more conservative national, political, religious, philosophical, musical and social trends. It was in this context that Sly and the Family Stone's trumpet player Cynthia Robinson yelled out in the hit "Dance to the Music": "All the squares go home!" If the counterculture was a shift from conservatism to liberalism, then square was what liberal people called a conservative people and things.”
Thanks for “Bitches Brew” – very apropos. The remark about Miles, “He knew it when he heard it.” Recalls Justice Potter Stewart and value networks, “I know it when I see it.” It’s what makes VNA visualization and the network narrative key to widespread adoption of value networks and getting in the groove – even for squares.
-j
From:
Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On
Behalf Of Sergej van Middendorp | Miles Ahead
Sent: Monday, July 06, 2009 2:42 AM
To: Value-N...@googlegroups.com
Subject: Re: In the groove
Hi John,
Some ideas in red to add to your very funny post.
Jeff Lindsay
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Jeff Lindsay
Director of Solution
Development
Innovationedge ▪ http://innovationedge.com
Email: jlin...@innovationedge.com
Office:
920.967.0466 ▪ Mobile: 920.428.1878 ▪ Fax: 920.967.0465
1526 S. Commercial
Street, Suite 200 ▪ Neenah, WI 54956
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Hot off the press: Conquering Innovation
Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley
& Sons, 2009).
This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you.
Benoit Couture
Salut Sergej,
Thank you for the encouraging response.
Cat Stevens sings: "...for the soul of nobody knows how a flower grows..."
John Maloney writes often to remind us of how much networks cannot be created, they can only be served.
So when you speak of structures, I think in terms of a house made to host human life at its best from personal to communal and from local to global in the complexity that bind all matters from micro to macro.
So the first set to represent the footing and foundation of such a habitation is OBSERVATION - RESPONSE. That is the footing and foundation that emerges from need to demand and supply.
Observation is made of complete receptivity and awareness, where Vision is generated to respond according to observation, hence the tuning and balance to adapt to the groove.
I tried to get a handle on that in "Tongue of Vision" and "The Sound of Vision":
We then build on this foundation of OBSERVATION - RESPONSE with the walls, floors. rooms, ceilings and roof to contain the synergies of generating-counter-generating-release of decision-making. I would call that part of the structure OBJECTIVITY - SUBJECTIVITY.
This is where intelligence, emotion, logic and inspiration all discover each other and learn to synergise.
Once the point of view for OBSERVATION - RESPONSE is set and that OBJECTIVITY - SUBJECTIVITY is tune-in and grooved in, there is then the need to secure the growth and the flexibility to adapt to the currency of the song of well-being with Health-Education-Correction and to the harsh conditions that come and go. This one I would call SOVEREIGNTY - ENVIRONMENT.
My only way to best describe what I mean here is in what I wrote last Thursday on a lab's chat line:
As an individual who is a son, a brother, a spouse, a father, a grand-father, a neighbour and a citizen of a greatly blessed land and people, I pray to arrive where and when sovereignty becomes... "...the ability to make decisions in serene maturity and knowledge, equiped with the capacity to implement these decisions with complete wisdom and responsability". As a result of such arrival, I dream of seeing the opening of a local-global Reconciliation Centre, radiating from within my own family into the social fabric by the Presnce of God, growing into the Eternal's Covenant in Christ-Jesus to feed the healing of human essence of being-having-doing......amen to God's Yes in us all..."
I am currently involved in the middle of a brain storming process around the idea of a DIY (Do-It-Yourself) of solar energy in Africa. That might help make more sense of my answer above. So like observing the flower grow, here is an example that implements the structure I described: http://tech.groups.yahoo.com/group/learnhowtolearn/message/542
With all due respect as it should,
Benoit
Ps: I apologise for how long it took, but it all came spontaniously, because you asked. So, thanks for asking Sergej, it was a good tune to be raptured into! Keep up the good jazzing up!... |
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Stewart Levine
Thank you all for this…what comes to mind for me as it relates to the process of collaboration is Jackson Brown's "For A Dancer" about how we learn many steps from many different folks / places which we integrate into our own unique dance…with that as the micro, the macro operates to produce a "dance" (product /service) out of the individual dances of each individual.
So let's keep dancing!
Stewart
Benoit Couture
Salut Steward,
Your comment makes me see a connection process of sweet spots that John Maloney wrote about last week.
There is the sweet spot of the musicians while playing (discipline, creativity and positioning), the sweet spot of the dancers (social fabric of implementation) and the sweet spot of the listeners (clients-customers) who become attrackted to the appeal of the music, and whose feedback keep the loop going and transforming as needed accross the process of decision making.
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Stewart Levine
…I like to say Benoit that from one perspective there are no "wrong" decisions, just a decision based on what we
knew then and now it's time for a new decision…
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Charles Ehin
Best,
Charlie
UnManagement.com
From: resolut...@msn.com
Sergej
Music and dance have always been dualisms, until Europeans at some
point decided to stop and sit down ;-) Fortunately most other cultures
have kept that beautiful connection alive, so I can learn to reconnect
both.
Charles Savage, with whom I work a lot, proposed that we 'dance the
dialogue'.
To be continued.
Cheers, Sergej
> From: Sergej van Middendorp | Miles Ahead <sergej.van.middend...@milesahead.eu>
> Subject: Re: In the groove
> To: Value-N...@googlegroups.com
> Received: Monday, July 6, 2009, 2:27 AM
>
> Hi Benoit,
>
> Thanks you for this beautiful post.
>
> What would you say could be structures that help with this tuning? Structures that could be laid down as starting points for a Value Network? Structures, as in organizational systems, that help the tuning and the groove emerge?
>
> Cheers, Sergej
>
>
> Salut,
>
> While we are into the musical metaphors, being a string instrument player means that the music cannot begin until the tuning of each instrument takes place.
>
> Once in tune, jaming can begin. That is when and how we get a sense of who can do what and of who has what to offer to the jam. Gradually as we play, the sounds and textures begin to assemble and the groove becomes palpable.
>
> This is the point at which brain stroming either settles into a tune we can all enjoy and implement to our repertoire, or else, it becomes a moment in time at which we discovered some limitations that may or may not be overcome.
>
> This is then the time to sit back to let the sound settle into observing quietness, in order to find out if we can move on past the limitations and go on with the tune at hand, or else, to start up on another one.
>
> So far, I have come to view VNA as the universal sound that seeks the tuning fork of human endeavours. The Clusters are the jamming sessions (tuning, discoveries and brainstorming) and the times between face-to-face meetings are for each participant to cultivate the skills and dexterity on time for the next jam session.
>
> Of course, the tuning fork is the Spirit of Life, Who carries on all forms of music that keep on moving and driving humans with the inspiration of justice-peace-joy, hope-faith-love, which is the framework of innovation.
>
> Outside of such tuning's range, only noise or empty sounds or cohesive evil can come out of jamming. The safety of the road ahead for human endeavours is to stay within the range of the Spirit.
>
> Peace,
>
> Benoit Couture
>
> From: Jeff Lindsay <jlind...@innovationedge.com <http://ca.mc373.mail.yahoo.com/mc/compose?to=jlind...@innovationedge.com> >
>
> Subject: RE: In the groove
> Received: Friday, July 3, 2009, 2:33 PM
>
> A related musical metaphor for innovation and the ecosystem around the innovator is that of the hornist whose crude buzz into the mouthpiece is transformed by the internal surfaces and valves of an innovation system into melodious tones coming out the bell of the horn. Here the horn replaces the funnel as a model for the changes to innovative concepts (the breath or voice of the innovator/hornist) - in a sense, it is the funnel of innovation turned upside down. At the bell of the horn, the key to being on tune is for the hornist to have his or her hand in the bell to adjust the final output into the concert hall /ecosystem /marketplace. This technique of "handstopping" was developed by German musician A.J. Hampel (building on the work of others, perhaps) to allow his horn with changeable sections or crooks to be able to play all the notes of the scale, not just the natural harmonics. His system of changeable crooks, which allowed the horn to be an orchestral instrument for the first time, was called das Innovationshorn - the Innovation Horn(!) - which we use for an extended innovation metaphor in Conquering Innovation Fatigue (just released by John Wiley and Sons).
>
> One of the many barriers to innovation in some corporations and elsewhere is the isolation of would-be innovators from the marketplace and the insights and feedback that come from the ecosystem. (consumers, etc.). We argue that innovators need to be included more thoroughly and be part of the iterative feedback loop that the hornist relies on to continually adjust pitch and timbre, tweaking input to the "horn of innovation" at the mouthpiece and participating throughout, including playing an active role in the final shaping with a hands-on approach at the bell. If the hornist were isolated from the score, from the signals of the director, and from the feedback loop involving the output into the environment, the music would quickly be off-tune and would be just another unwanted input to be winnowed out of the innovation funnel--wasted breath--instead of meaningful, targeted innovation that will become refined and enhanced by corporate processes for higher odds of marketplace success. This is the "Horn of Innovation" concept that is tied to theme of listening to and including the "Voice of the Innovator" to promote innovation success and overcome some of the fatigue factors that affect innovators at a personal level. I think it's all consistent with the value network lens when applied to innovation.
>
> Here's a figure illustrating the concept. We used it briefly in a Co-Dev 2009 workshop presentation (also Exh. 2.3 in the book):
>
>
> Speaking of feedback loops, any feedback on the concept would be appreciated. Thanks!
>
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
>
> Jeff Lindsay
> Director of Solution Development
> Email: <http://ca.mc373.mail.yahoo.com/mc/compose?to=jlind...@innovationedge.com> jlind...@innovationedge.com
> ...
>
> read more »
>
> image001.jpg
> 123KViewDownload
Sergej
Thank you for your post. Beautiful perspectives. I will try them out.
Cheers, Sergej
On Jul 6, 7:32 pm, Benoit Couture <benoit...@yahoo.com> wrote:
> Salut Sergej,
>
> Thank you for the encouraging response.
>
> Cat Stevens sings: "...for the soul of nobody knows how a flower grows..."
> John Maloney writes often to remind us of how much networks cannot be created, they can only be served.
> So when you speak of structures, I think in terms of a house made to host human life at its best from personal to communal and from local to global in the complexity that bind all matters from micro to macro.
> So the first set to represent the footing and foundation of such a habitation is OBSERVATION - RESPONSE. That is the footing and foundation that emerges from need to demand and supply.
> Observation is made of complete receptivity and awareness, where Vision is generated to respond according to observation, hence the tuning and balance to adapt to the groove.
>
> I tried to get a handle on that in "Tongue of Vision" and "The Sound of Vision":http://www.bbc.co.uk/dna/h2g2/classic/A23128571
>
> We then build on this foundation of OBSERVATION - RESPONSE with the walls, floors. rooms, ceilings and roof to contain the synergies of generating-counter-generating-release of decision-making. I would call that part of the structure OBJECTIVITY - SUBJECTIVITY.
> This is where intelligence, emotion, logic and inspiration all discover each other and learn to synergise.
>
> Once the point of view for OBSERVATION - RESPONSE is set and that OBJECTIVITY - SUBJECTIVITY is tune-in and grooved in, there is then the need to secure the growth and the flexibility to adapt to the currency of the song of well-being with Health-Education-Correction and to the harsh conditions that come and go. This one I would call SOVEREIGNTY - ENVIRONMENT.
> My only way to best describe what I mean here is in what I wrote last Thursday on a lab's chat line:
> As an individual who is a son, a brother, a spouse, a father, a grand-father, a neighbour and a citizen of a greatly blessed land and people, I pray to arrive where and when sovereignty becomes... "...the ability to make decisions in serene maturity and knowledge, equiped with the capacity to implement these decisions with complete wisdom and responsability". As a result of such arrival, I dream of seeing the opening of a local-global Reconciliation Centre, radiating from within my own family into the social fabric by the Presnce of God, growing into the Eternal's Covenant in Christ-Jesus to feed the healing of human essence of being-having-doing......amen to God's Yes in us all..."
>
> I am currently involved in the middle of a brain storming process around the idea of a DIY (Do-It-Yourself) of solar energy in Africa. That might help make more sense of my answer above. So like observing the flower grow, here is an example that implements the structure I described: http://tech.groups.yahoo.com/group/learnhowtolearn/message/542
>
> With all due respect as it should,
> Benoit
>
> Ps: I apologise for how long it took, but it all came spontaniously, because you asked. So, thanks for asking Sergej, it was a good tune to be raptured into! Keep up the good jazzing up!...
>
>
> From: Sergej van Middendorp | Miles Ahead <sergej.van.middend...@milesahead.eu>
> Subject: Re: In the groove
> To: Value-N...@googlegroups.com
> Received: Monday, July 6, 2009, 2:27 AM
>
> Hi Benoit,
>
> Thanks you for this beautiful post.
>
> What would you say could be structures that help with this tuning? Structures that could be laid down as starting points for a Value Network? Structures, as in organizational systems, that help the tuning and the groove emerge?
>
> Cheers, Sergej
>
>
> Salut,
>
> While we are into the musical metaphors, being a string instrument player means that the music cannot begin until the tuning of each instrument takes place.
> Once in tune, jaming can begin. That is when and how we get a sense of who can do what and of who has what to offer to the jam. Gradually as we play, the sounds and textures begin to assemble and the groove becomes palpable.
> This is the point at which brain stroming either settles into a tune we can all enjoy and implement to our repertoire, or else, it becomes a moment in time at which we discovered some limitations that may or may not be overcome.
> This is then the time to sit back to let the sound settle into observing quietness, in order to find out if we can move on past the limitations and go on with the tune at hand, or else, to start up on another one.
> So far, I have come to view VNA as the universal sound that seeks the tuning fork of human endeavours. The Clusters are the jamming sessions (tuning, discoveries and brainstorming) and the times between face-to-face meetings are for each participant to cultivate the skills and dexterity on time for the next jam session.
> Of course, the tuning fork is the Spirit of Life, Who carries on all forms of music that keep on moving and driving humans with the inspiration of justice-peace-joy, hope-faith-love, which is the framework of innovation.
> Outside of such tuning's range, only noise or empty sounds or cohesive evil can come out of jamming. The safety of the road ahead for human endeavours is to stay within the range of the Spirit.
>
> Peace,
> Benoit Couture
>
>
>
> From: Jeff Lindsay <jlind...@innovationedge.com>
>
> To: Value-N...@googlegroups.com
> Received: Friday, July 3, 2009, 2:33 PM
>
> A related musical metaphor for innovation and the ecosystem around the innovator is that of the hornist whose crude buzz into the mouthpiece is transformed by the internal surfaces and valves of an innovation system into melodious tones coming out the bell of the horn. Here the horn replaces the funnel as a model for the changes to innovative concepts (the breath or voice of the innovator/hornist) - in a sense, it is the funnel of innovation turned upside down. At the bell of the horn, the key to being on tune is for the hornist to have his or her hand in the bell to adjust the final output into the concert hall /ecosystem /marketplace. This technique of "handstopping" was developed by German musician A.J. Hampel (building on the work of others, perhaps) to allow his horn with changeable sections or crooks to be able to play all the notes of the scale, not just the natural harmonics. His system of changeable crooks, which allowed the horn to be an
> orchestral instrument for the first time, was called das Innovationshorn - the Innovation Horn(!) - which we use for an extended innovation metaphor in Conquering Innovation Fatigue (just released by John Wiley and Sons).
> One of the many barriers to innovation in some corporations and elsewhere is the isolation of would-be innovators from the marketplace and the insights and feedback that come from the ecosystem. (consumers, etc.). We argue that innovators need to be included more thoroughly and be part of the iterative feedback loop that the hornist relies on to continually adjust pitch and timbre, tweaking input to the "horn of innovation" at the mouthpiece and participating throughout, including playing an active role in the final shaping with a hands-on approach at the bell. If the hornist were isolated from the score, from the signals of the director, and from the feedback loop involving the output into the environment, the music would quickly be off-tune and would be just another unwanted input to be winnowed out of the innovation funnel--wasted breath--instead of meaningful, targeted innovation that will become refined and enhanced by corporate processes for
> higher odds of marketplace success. This is the "Horn of Innovation" concept that is tied to theme of listening to and including the "Voice of the Innovator" to promote innovation success and overcome some of the fatigue factors that affect innovators at a personal level. I think it's all consistent with the value network lens when applied to innovation.
> Here's a figure illustrating the concept. We used it briefly in a Co-Dev 2009 workshop presentation (also Exh. 2.3 in the book):
>
> Speaking of feedback loops, any feedback on the concept would be appreciated. Thanks!
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
>
> Jeff Lindsay
> Director of Solution Development
> Innovationedge ▪ http://innovationedge.com
> 1526 S. Commercial Street, Suite 200 ▪ Neenah, WI 54956
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
> Hot off the press: Conquering Innovation Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley & Sons, 2009).
>
> This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you.
>
> Sent: Friday, July 03, 2009 11:24 AM
>
> To: Value-N...@googlegroups.com
> Subject: In the groove
>
>
> read more »
Sergej
Yes, of course. Glad the remark resonates with you. Obviously, your
intent is very well captured by your graphic.
Is the history you describe here in the book?
Cheers, Sergej
On Jul 6, 4:39 pm, "Jeff Lindsay" <jlind...@innovationedge.com> wrote:
> Sergej, I appreciate the insights you have added with your comments. May we have permission to quote you (with attribution, unless you prefer anonymity) in subsequent writings and discussions on this theme?
>
> Yes, in making the drawing my intent was to bring together thinking, planning, doing, and receiving feedback for iterative adjustment. You expressed the intent nicely!
>
> Such themes apply to so much of music, but I have found the physics of handstopping and the history of the horn to be especially applicable to innovation. There are other innovation lessons, such as the assistance A.J. Hampel received in driving the social adoption of his invention with the help of a highly connected hornist, Giovanni Punto. Fascinating story!
>
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
> Jeff Lindsay
> Director of Solution Development
> Email: jlind...@innovationedge.com <mailto:jlind...@innovationedge.com>
> 1526 S. Commercial Street, Suite 200 ▪ Neenah, WI 54956
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
> Hot off the press: Conquering Innovation Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley & Sons, 2009).
>
> This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you.
>
> ________________________________
>
> From: Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of Sergej van Middendorp | Miles Ahead
> Sent: Monday, July 06, 2009 4:23 AM
> To: Value-N...@googlegroups.com
> Subject: Re: In the groove
>
> Hi Jeff,
>
> Thanks for sharing that. What I like particularly about the visual is that the metaphor captures the complete spectrum from thinking to doing and reflection from the market. Very powerful, as in larger organizations innovation would often be distributed among teams or departments. Your metaphor brings it back to a living system in tune with its environment.
>
> I also like how it ties into system dynamics thinking (at least that's what it does for me) with the valves, alternative pathways and feedback loop.
>
> It also captures the notion that there is sensing and brains involved on the one hand, and embodied action in the world on the other. Thereby bridging the gap between empirical and phenomenological perspectives.
>
> Very nice! Thanks again for sharing.
>
> Cheers, Sergej
>
>
> A related musical metaphor for innovation and the ecosystem around the innovator is that of the hornist whose crude buzz into the mouthpiece is transformed by the internal surfaces and valves of an innovation system into melodious tones coming out the bell of the horn. Here the horn replaces the funnel as a model for the changes to innovative concepts (the breath or voice of the innovator/hornist) - in a sense, it is the funnel of innovation turned upside down. At the bell of the horn, the key to being on tune is for the hornist to have his or her hand in the bell to adjust the final output into the concert hall /ecosystem /marketplace. This technique of "handstopping" was developed by German musician A.J. Hampel (building on the work of others, perhaps) to allow his horn with changeable sections or crooks to be able to play all the notes of the scale, not just the natural harmonics. His system of changeable crooks, which allowed the horn to be an orchestral instrument for the first time, was called das Innovationshorn - the Innovation Horn(!) - which we use for an extended innovation metaphor in Conquering Innovation Fatigue (just released by John Wiley and Sons).
>
> One of the many barriers to innovation in some corporations and elsewhere is the isolation of would-be innovators from the marketplace and the insights and feedback that come from the ecosystem. (consumers, etc.). We argue that innovators need to be included more thoroughly and be part of the iterative feedback loop that the hornist relies on to continually adjust pitch and timbre, tweaking input to the "horn of innovation" at the mouthpiece and participating throughout, including playing an active role in the final shaping with a hands-on approach at the bell. If the hornist were isolated from the score, from the signals of the director, and from the feedback loop involving the output into the environment, the music would quickly be off-tune and would be just another unwanted input to be winnowed out of the innovation funnel--wasted breath--instead of meaningful, targeted innovation that will become refined and enhanced by corporate processes for higher odds of marketplace success. This is the "Horn of Innovation" concept that is tied to theme of listening to and including the "Voice of the Innovator" to promote innovation success and overcome some of the fatigue factors that affect innovators at a personal level. I think it's all consistent with the value network lens when applied to innovation.
>
> Here's a figure illustrating the concept. We used it briefly in a Co-Dev 2009 workshop presentation (also Exh. 2.3 in the book):
>
>
> Speaking of feedback loops, any feedback on the concept would be appreciated. Thanks!
>
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
> Jeff Lindsay
> Director of Solution Development
> Email: jlind...@innovationedge.com <mailto:jlind...@innovationedge.com>
> 1526 S. Commercial Street, Suite 200 ▪ Neenah, WI 54956
> ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
> Hot off the press: Conquering Innovation Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley & Sons, 2009).
>
> This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you.
>
> ________________________________
>
> From: Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of dave davison
> Sent: Friday, July 03, 2009 11:24 AM
> To: Value-N...@googlegroups.com
> Subject: In the groove
>
> I took the opportunity to read MilesAhead segments of his phd thesis on the jazz metaphor of "being in the groove" IMO he is on to something.
>
> His reference to the bass, piano and drums "laying down" the rhythm so that the other jazz musicians could integrate their own improvisations along the rhythm line makes me wonder - how do you provide a rhythm for virtual teams who are not in direct face to face contact with one another.
>
> How can virtual teams "get in the groove"
>
> Dave Davison
>
> --
> Dave Davison
>
> 123KViewDownload
Sergej
Yes, except the one from Abbott's flatland: http://www.geom.uiuc.edu/~banchoff/Flatland/
He saw the third dimension after an unexpected visit of a sphere, and
tried to bring the good news of the third dimension to his fellow
squares, triangles, circles, hexagons and the like. Ended up in
prison...
Cheers, Sergej
Jeff Lindsay
Sergej wrote:
Hi Jeff, Yes, of course. Glad the remark resonates with you. Obviously, your intent is very well captured by your graphic. Is the history you describe here in the book? Cheers, Sergej On Jul 6, 4:39 pm, "Jeff Lindsay" wrote: > Sergej, I appreciate the insights you have added with your comments. May we have permission to quote you (with attribution, unless you prefer anonymity) in subsequent writings and discussions on this theme? > > Yes, in making the drawing my intent was to bring together thinking, planning, doing, and receiving feedback for iterative adjustment. You expressed the intent nicely! > > Such themes apply to so much of music, but I have found the physics of handstopping and the history of the horn to be especially applicable to innovation. There are other innovation lessons, such as the assistance A.J. Hampel received in driving the social adoption of his invention with the help of a highly connected hornist, Giovanni Punto. Fascinating story! > > ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ > Jeff Lindsay > Director of Solution Development > Innovationedge ▪ http://innovationedge.com > Email: jlind...@innovationedge.com > Office: 920.967.0466 ▪ Mobile: 920.428.1878 ▪ Fax: 920.967.0465 > 1526 S. Commercial Street, Suite 200 ▪ Neenah, WI 54956 > ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ > Hot off the press: Conquering Innovation Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley & Sons, 2009). > > This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you. > > ________________________________ > > From: Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of Sergej van Middendorp | Miles Ahead > Sent: Monday, July 06, 2009 4:23 AM > To: Value-N...@googlegroups.com > Subject: Re: In the groove > > Hi Jeff, > > Thanks for sharing that. What I like particularly about the visual is that the metaphor captures the complete spectrum from thinking to doing and reflection from the market. Very powerful, as in larger organizations innovation would often be distributed among teams or departments. Your metaphor brings it back to a living system in tune with its environment. > > I also like how it ties into system dynamics thinking (at least that's what it does for me) with the valves, alternative pathways and feedback loop. > > It also captures the notion that there is sensing and brains involved on the one hand, and embodied action in the world on the other. Thereby bridging the gap between empirical and phenomenological perspectives. > > Very nice! Thanks again for sharing. > > Cheers, Sergej > > On Fri, Jul 3, 2009 at 11:33 PM, Jeff Lindsay wrote: > > A related musical metaphor for innovation and the ecosystem around the innovator is that of the hornist whose crude buzz into the mouthpiece is transformed by the internal surfaces and valves of an innovation system into melodious tones coming out the bell of the horn. Here the horn replaces the funnel as a model for the changes to innovative concepts (the breath or voice of the innovator/hornist) - in a sense, it is the funnel of innovation turned upside down. At the bell of the horn, the key to being on tune is for the hornist to have his or her hand in the bell to adjust the final output into the concert hall /ecosystem /marketplace. This technique of "handstopping" was developed by German musician A.J. Hampel (building on the work of others, perhaps) to allow his horn with changeable sections or crooks to be able to play all the notes of the scale, not just the natural harmonics. His system of changeable crooks, which allowed the horn to be an orchestral instrument for the first time, was called das Innovationshorn - the Innovation Horn(!) - which we use for an extended innovation metaphor in Conquering Innovation Fatigue (just released by John Wiley and Sons). > > One of the many barriers to innovation in some corporations and elsewhere is the isolation of would-be innovators from the marketplace and the insights and feedback that come from the ecosystem. (consumers, etc.). We argue that innovators need to be included more thoroughly and be part of the iterative feedback loop that the hornist relies on to continually adjust pitch and timbre, tweaking input to the "horn of innovation" at the mouthpiece and participating throughout, including playing an active role in the final shaping with a hands-on approach at the bell. If the hornist were isolated from the score, from the signals of the director, and from the feedback loop involving the output into the environment, the music would quickly be off-tune and would be just another unwanted input to be winnowed out of the innovation funnel--wasted breath--instead of meaningful, targeted innovation that will become refined and enhanced by corporate processes for higher odds of marketplace success. This is the "Horn of Innovation" concept that is tied to theme of listening to and including the "Voice of the Innovator" to promote innovation success and overcome some of the fatigue factors that affect innovators at a personal level. I think it's all consistent with the value network lens when applied to innovation. > > Here's a figure illustrating the concept. We used it briefly in a Co-Dev 2009 workshop presentation (also Exh. 2.3 in the book): > > OK, it has it's limitations, but as has already been noted with respect to the jazz metaphor of "being in the groove," I think there is much that can be learned from the world of music when applied to business and to innovation in particular. > > Speaking of feedback loops, any feedback on the concept would be appreciated. Thanks! > > ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ > Jeff Lindsay > Director of Solution Development > Innovationedge ▪ http://innovationedge.com > Email: jlind...@innovationedge.com > Office: 920.967.0466 ▪ Mobile: 920.428.1878 ▪ Fax: 920.967.0465 > 1526 S. Commercial Street, Suite 200 ▪ Neenah, WI 54956 > ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ > Hot off the press: Conquering Innovation Fatigue by Jeff Lindsay, Cheryl Perkins, and Mukund Karanjikar (John Wiley & Sons, 2009). > > This e-mail may contain information that is privileged, confidential, proprietary and / or exempt from disclosure under applicable law. If the reader of the message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copy of this message is strictly prohibited. If you have received this message in error, please inform us promptly by reply e-mail, then delete the e-mail and destroy any printed copy. Thank you. > > ________________________________ > > From: Value-N...@googlegroups.com [mailto:Value-N...@googlegroups.com] On Behalf Of dave davison > Sent: Friday, July 03, 2009 11:24 AM > To: Value-N...@googlegroups.com > Subject: In the groove > > I took the opportunity to read MilesAhead segments of his phd thesis on the jazz metaphor of "being in the groove" IMO he is on to something. > > His reference to the bass, piano and drums "laying down" the rhythm so that the other jazz musicians could integrate their own improvisations along the rhythm line makes me wonder - how do you provide a rhythm for virtual teams who are not in direct face to face contact with one another. > > How can virtual teams "get in the groove" > > Dave Davison > > -- > Dave Davison > > Outlook.jpg > 123KViewDownload