Posts tagged “improv”

Steve speaking locally, about improv, design, and creativity

I am frequently asked when I’m doing a public talk in the SF Bay Area, and now I can answer: next week!

I’m giving my popular talk Yes, My Iguana Loves to Cha-Cha in Cupertino on Wednesday, June 20th, at 6:30. This talk, about improv, creativity, and design, is something I’ve revisited and revised for a number of years. As the talk has evolved, I’ve presented it at CHIFOO, Puget Sound SIGCHI, IxDA New York (slides

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, video), IDSA’s Southern Conference, IDSA/ICSID World Design Congress, IDSA 2009, and DUX05.

Read more here, and come on down to the event
HP Oak Room
19111 Pruneridge Avenue
Cupertino, CA 95014

I hope to see you there. No iguanas will be harmed. No one will be forced to do improv but there should be plenty of opportunities to try it out if you’re up for it!

Creativity, Sex, & the Karate Kid

One of my favorite tools to inspire radical new thinking is a technique I call forced connections. It is, fundamentally, a cognitive math problem: x + y = ? (assuming, of course, that x and y are seemingly unrelated things). This concept, also described as combinatorial creativity, is amazing because human brains are wired for it. The brain experiences cognitive dissonance when you try to hold two or more dissimilar things in your mind at the same time. It wants to resolve that tension so it creates resolution in the form of a new idea. Understanding how ideas work helps us design tools that facilitate idea generation. The articles and talk below explore ideational procreation through the lenses of neuroscience, quantum theory, psychology, and anthropology.

Musical Creativity and the Brain [The Dana Foundation] – This article explores some big theoretical and empirical questions about creativity, namely what it is and how we do it. My researcher heart jumped for joy with the introduction of an operational definition of creativity that comfortably applies across a range of artistic and business contexts: a fundamental activity of human information processing. The researchers discuss the brain functioning behind creative problem solving and the processes that make up creative behavior. Not surprisingly, it is a study in polarities: creativity is deliberate and spontaneous, cognitive and emotional, improvisation and composition, productive and consumptive. One of the authors, Charles Limb is a surgeon who also studies creativity and talks about your brain on improv.

During any creative act, from language production to marketing techniques selling the latest iPhone, ideas or past experiences are combined in novel and significant ways via the interaction of such cognitive capacities. The creative cognition approach is the current model dominating the neuroscientific study of creative thinking. According to this approach, creativity is far from a magical event of unexpected random inspiration. Instead, it is a mental occurrence that results from the application of ordinary cognitive processes.

How the Mind Creates Ideas [Psychology Today] – I often use forced connections when facilitating brainstorming as a deliberate idea-generating activity with specific stimuli (i.e. research insights). Quantum theory offers a more expansive approach to thinking about ideas as unmanifested sub-atomic particles that represent endless possibilities and countless possible combinations. The key to harnessing your quantum creative potential is to harvest as many ideas as you can: observe, record, interact, react.

We are taught to be exclusionary thinkers, which means we exclude anything that is not immediately related to our subject. Creative geniuses do not think this way. They know that the sky is a billion different shades of blue. When they brainstorm for ideas, their first objective is to observe and record all thoughts and ideas as possibilities. They observe without judgment. This is why all their thoughts and ideas come into existence as possibilities. Creative geniuses also think inclusively which means they include everything no matter how unrelated or absurd. This is a basic requirement of creative thinking. Creative thinking requires the generation of associations and connections between two or more dissimilar subjects.

Matt Ridley: When ideas have sex [TED] – The notion of ideas having sex is not, in fact, a new idea and the fruits of idea coupling have been applied and studied in a variety of areas. Ridley brings to life this concept with a tour of human evolution that offers material culture as evidence of our inescapable need for cross-germination in the collective brain. If you are interested in such creative romancing you can also find some practical tools to set the metaphorical mood here.

When ideas have sex | Matt Ridley

What The Karate Kid Can Teach Us About Agile and UX [UIE]

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– While the selections above discuss the process of ideational procreation, this article illustrates the progeny of forced connections: Daniel-san + UX=Lessons in Agile Mastery. Gothelf suggests that ritual and repetition breed expertise in both the hard skills (i.e.rapid rendering) and soft skills (i.e. trust and transparency) necessary for collaborative cohesion. Mr. Miyagi would certainly approve of this evolution of “Wax on. Wax off.”

Daniel found this level of mastery in the final tournament where he anticipated his opponent’s moves and ultimately defeated him. An Agile team achieves this when they trust each other implicitly, react as a cohesive unit to change and manage that change as well as any conflict with little impact to productivity or quality of work.

*Nota bene: The forced connection as metaphoric literary trope is not necessarily novel. In fact, some might convincingly argue that it is overplayed for its linkbaiting ability to seduce readers with catchy headlines. Personally, I am a sucker for such headlines and I have yet to grow tired of this tactic because I liken it to creative calisthenics. Reading and writing such pieces forces the brain to contemplate a familiar topic through a new lens. It requires the brain to constantly make new connections and it nurtures our divergent thinking capabilities. If you are looking for such exercise, try some of these: What Jay-Z Can Teach Us About The Future Of Education,What Downton Abbey Can Teach Us About the Future of Energy, What Nature Can Teach Us About Design, and What Visual Designers Can Learn From Biggie Smalls.

 

Tips to Improve Your Interviewing Skills (and a request for more!)

I’m working on some of the final chapters of my book about interviewing and am interested in the ways that people have developed their own skills as an interviewer. I’ll list a few but this list can only get better with your input.

  • Practice, man, practice. It’s how you get to Carnegie Hall and it’s how you get better at interviewing.
  • Create your own practice occasions: that chatty seat mate on an airplane, the extroverted cashier – ask them a question and then ask them a follow up questions!
  • Reflect, just like a football coach who reviews the game films; watch your videos, read your transcripts, and look at what worked well and what you might have improved
  • Be interviewed whether it’s for a survey or a usability study or a poll, experience the interview from the other side of the lens
  • Critique the interviews of others (without resorting to your just-got-your-drivers’-license-know-it-all we all were at 16)
  • Observe others at work including great interviewers and poor interviewers – this can be in your work context, or in the media (Marc Maron, Charlie Rose, Terry Gross, and others) 
  • Collect war stories (more on this coming very soon)
  • Try improv 

That’s my starter list, but what have you done to get better as an interviewer?

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ChittahChattah Quickies

Interview with Patricia Ryan Madson on How Improv Can Change the World [Priya Parker]

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– As often happens, the principles of improv give us a lens towards larger truths about how life – just being in the world – can or should work.

Trying produces tension and misdirects our focus away from what we are doing onto an obsession with the result. We are doomed to fail when we try to be smart or witty or amazing. It you think about it the people who actually are smart, etc. are focusing on what they are doing rather than how they are doing. I can make an average painting, story, etc. And if I put my attention on just doing what comes naturally, just making it the most obvious to me then the result is commonly pretty good. Trying is misplaced attention. The idea of excellence robs us of our common sense intelligence.

Snooping in the Age of E-book [NYT] – There are many reasons we advocate for studying people in their own environment. One of them is the richness of the cues you get from that environment. This short piece articulates those cues nicely.

A bit of gumshoe in someone’s cupboard or closet can reveal far more about them than an entire evening’s worth of chitchat. “Places reflect long series of behavior,” he told me during a recent visit to my home. “If I have a conversation with you, I just get snippets of behavior. Your books, your chairs, your wall hangings represent an accumulation over many years. A space distills repeated acts. That’s why it’s hard to fake.” Of the five major personality traits, three – openness, conscientiousness and extroversion – are clearly revealed in people’s spaces…Snooping, in other words, instead of being an antisocial activity, is actually prosocial. Our spaces are telling others what we’re like even when we’re not. These days, we need such boosts to communication, because as the demise of the bookshelf shows, our true selves are increasingly retreating from public display and disappearing inside our devices. We are becoming, as Ms. Fadiman lamented, more invisible. “Our obsession with privacy is somehow reflected in the fact that our taste is now locked up invisibly inside all of these little boxes.”

Can the Cult of Bang & Olufsen Last? [Wired] – Rob Walker catches up with the 2011 edition of this long-standing audio company, known for out of this world design and out of reach prices, as he says, “audiophiles lost out to audio audio files.” The closing paragraph is telling and compelling.

Mantoni sounds intent on prodding B&O toward a less aloof attitude about the marketplace. “We need to go out and talk to customers,” he says. He recently told 30 of his top executives that they would be working in B&O stores for a while to meet customers face-to-face. There’s a message here about design: Of course the company has to keep producing distinctive wares-but these also have to fit shoppers’ actual lives.

ChittahChattah Quickies

  • [from steve_portigal] No.4 Secret Soles – Rosso Solini [I Am Hiawatha] – [Louboutin shoes start at $300 and go up to several thousand dollars. Their red sole is a distinctive design mark that signifies the wearer's brand choice. A 15-year old student has designed and is marketing an aftermarket red sole that can add that signifier to any pair of shoes.] Rosso Solini ‘Secret Soles’ is a shoe customisation kit that gives you the tools and equipment to turn any high-heel into a red soled, Louboutonesque shoe.
  • [from steve_portigal] WET Design and the Improv Approach to Listening [NYTimes.com] – [Mark Fuller, chief excellence officer of WET Design explains what is unusual about his company’s culture] Improv is really about listening to the other person, because there’s no script. It’s about responding. If you have an argument with [your] wife or husband, you are just waiting for the other person to finish so they can say what they’re waiting to say. So usually they’re these serial machine-gun monologues, and very little listening. That doesn’t work in improv. If we’re on the stage, I don’t know what goofball thing you’re going to say, so I can’t be planning anything. I have to really be listening to you so I can make an intelligent response….You’re sort of in this gray space of uncertainty. Most of us don’t like to be uncertain ­ you know, most of us like to be thinking what we’re going to say next. You get your mind into a space where you say, “I’m really enjoying that I don’t know what he’s going to ask me next, and I’m going to be open and listening and come back.
  • [from steve_portigal] Open Source Electronics Pioneer Limor Fried on the DIY Revolution [Wired Magazine] – [I've long wondered if our experiences consuming software have changed our expectations for the updatability and customizability of all products] People do want very specialized technology, and they just couldn’t get it. Now they’ll be able to get it. When I make stuff, I make it for only one person, myself. And, like, two of my friends. But it turns out that hundreds of thousands of people want the same thing. And I think that’s how good design starts. So instead of having to just put up with whatever Sony comes out with, consumers will have more choices made by people who are more like them. And they’re not just trying to manufacture as Sony; they’re manufacturing as a small company that is trying to fulfill the needs of a small community…We have no idea [where this movement will go]. It’s going to be weird and completely surprising, and we’re going to be just shocked, and it will be awesome.
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Start Spreadin’ The News: Steve in New York, NY

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Urban Camouflage, New York, June 2004

I’m off to New York next week for a handful of speaking engagements. If you’re going to be at any of them, please let me know!

The Box That Is Not A Box (But Is Still A Box)

Chip and Dan Heath write in Fast Company about the power of constraints

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Keith Sawyer, author of the insightful book Group Genius, spent years studying the work of jazz groups and improvisational theater ensembles. He found that structure doesn’t hamper creativity; it enables it. When improv comedians take the stage, they need a concrete stimulus: “What if Romeo had been gay?” The stimulus can’t be: “Go on, make me laugh, funnyman.”

“Improv actors are taught to be specific,” Sawyer says. “Rather than say, ‘Look out, it’s a gun!’ you should say, ‘Look out, it’s the new ZX-23 laser kill device!’ Instead of asking, ‘What’s your problem?’ say, ‘Don’t tell me you’re still pissed off about that time I dropped your necklace in the toilet.'” The paradox is that while specificity narrows the number of paths that the improv could take, it makes it easier for the other actors to come up with the next riff.

This is something I’ve emphasized in my talks on improv and ethnography (which always end up being a workshop on improv/ ethnography/ design/ creativity)…the energy that comes from working on problems that are extremely constrained along some axes (i.e., each successive utterance must begin with a successive letter of the alphabet, from A through Z) and utterly open along other axes (i.e., what the actors say can or be anything they want).

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