Artful Making: What Managers Need to Know About How Artists Work
Editorial Reviews
Book Description
Introduction Managing When You Don't Know Where You're Going If you don't know where you're going, any mapwill do. 1 Thisconventional wisdom sounds right to many managers. It highlights the safety ofhaving a clear objective for your management actions. It implies that allmanagement actions are likely to be confused and inefficient if you don'thave a clear objective. If you don't have a good fix on yourdestination-;be it a product or service, a strategic or competitiveoutcome, or anything else-;you may as well not start the journey. For a lot of your work, though, this so-called wisdom iswrong. Why? For one thing, you can't always know your destination inadvance. Whether you're designing a new product, running a business involatile conditions, operating a process that might encounter unforeseeninputs, or just trying to figure out what to do with your life, the journeyusually involves exploration, adjustment, and improvisation. Situations inwhich you don't or can't know the results in advance are common andconsequential. All businesses face them. If you're not too narrow in what you're willingto call management, you can manage these situations. You canenhance effectiveness and efficiency, and you can improve the likelihood ofvaluable outcomes. However, the methods you'll use will differ from, andsometimes conflict with, methods that work when you do know where you'regoing. There is an increasingly important category ofwork-;knowledge work-;that you can best manage by not enforcing adetailed, in-advance set of objectives, even if you could. Often in this kindof work, time spent planning what you want to do will be better spent actuallydoing (or letting others in your charge do), trying something you haven'tthought out in detail so you can quickly incorporate what you learn from theexperience in the next attempt. In appropriate conditions-;only inappropriate conditions-;you can gain more value from experience than fromup-front analysis. In certain kinds of work, even if you can figure out whereyou're going and find a map to get you there, that may not be the bestthing to do. Forging ahead without detailed specifications to guide youobviously requires innovation, new actions. We take this observation one stepfurther by suggesting that knowledge work, which adds value in large partbecause of its capacity for innovation, can and often should be structured asartists structure their work. Managers should look to collaborative artistsrather than to more traditional management models if they want to createeconomic value in this new century. We call this approach artful making. Artful, because it derives from the theory and practice of collaborative art andrequires an artist-like attitude from managers and team members. Making, because it requires that you conceive of your work asaltering or combining materials into a form, for a purpose. 2 Materials thus treated become something new, something they would not becomewithout the intervention of a maker. This definition usually points to workthat changes physical materials, iron ore and charcoal into steel, forinstance. But the work and management we're considering don'talways do that. Instead they mostly operate in imagination, in the realm ofknowledge and ideas. While artful making improves any thing that exhibitsinterdependency among its parts, we're not primarily concerned withheating metal and beating it into shapes. We're more concerned withstrategies, product designs, or software-;new things that groups create bythinking, talking, and collaborating. Artful Making Any activity that involves creating something entirely newrequires artful making. Whenever you have no blueprint to tell you in detailwhat to do, you must work artfully. A successful response to an unexpected moveby a competitor requires artful activity; so does handling a sudden problemcaused by a supplier. An artful manager operates without the safety net of adetailed specification, guiding a team or organization when no one knowsexactly where it's going. In the 21st Century, it's a simple fact that you oftendon't know where you're going when you start a journey. A managerwho needs to be handed a clear set of objectives or a process specification isonly half a manager (and not the most important half). To know whereyou're going by the time you start, that's an amazing luxury andyou probably can't afford it. Anyway, if you think you know whereyou're going, you're probably wrong. The need to innovate, to makemidcourse corrections, and to adapt to changing conditions are the mainfeatures of a growing part of daily work. Many people in business admit that parts of their work are more art than science. What they often mean, alas, is that theydon't understand those parts. Art used in a businesscontext usually refers to something done by talented or creative people who are not quite trustworthy, who do work thatresists reasonable description. There's often a disparaging implicationthat art-like processes are immature, that they have not yet evolved toincorporate the obviously superior methods of science. The premise thatunderlies this point of view equates progress with the development of reliable,rules-based procedures to replace flaky, unreliable, art-based processes. Wereject this premise. Our close examination of art-based processes shows thatthey're understandable and reliable, capable of sophisticated innovationat levels many scientific business processes can't achieve.A theatre company, for instance, consistently delivers a valuable, innovativeproduct under the pressure of a very firm deadline (opening night, eighto'clock curtain). The product, a play, executes again and again withgreat precision, incorporating significant innovations every time, butfinishing within 30 seconds of the same length every time. And althoughart-based processes realize the full capabilities of talented workers and canbenefit from great worker talent, by no means do they require exceptional orespecially creative individuals. Nor does great individual talent ensure avaluable outcome. A company of exceptionally talented big stars can (and oftenwill) create a less effective play than one made up of ordinarily talentedartists who have, through hard work, learned how to collaborate. Businesshistory too provides numerous examples of underdog upstarts out-collaboratingand out-executing companies with much better resources; and few (if any)companies have ever worshiped more devoutly at the altar of raw individualtalent than Enron, one of the most spectacular corporate failures in history. 3 As we will show, underlying structural similarities in costsmake theatre rehearsal and other collaborative art processes better models forknowledge work than more rules-based, scientific processes. The key tounderstanding these similarities is something we call cheap and rapiditeration. How Cheap and Rapid Iteration Changes Everything The cost of iteration-;the cost of reconfiguring aprocess and then running it again-;significantly impacts the way we work.Reconfiguring an auto assembly process can involve buying and installing newequipment, which can be pretty expensive. So, automakers usually do a lot ofplanning before they commit to a configuration. They don't want to haveto reconfigure very often. They try to Get it right the firsttime. On the other hand, some software development processes aredesigned nowadays so that they can be reconfigured cheaply and quickly.Developers generate new versions of a software system as often as needed.Technologies that allow new versions to be rebuilt easily keep the cost ofiteration low. When enabling technologies help keep the cost of iteration low,we don't need to worry as much about getting it right the first time.Instead, we can try things, learn from them, then reconfigure and try again.Because it doesn't cost much to iterate, the value of doing is greaterthan the value of thinking about how to do. Cheap and rapid iteration allows usto substitute experience for planning. Rather than Get it right thefirst time, our battle cry becomes Make it great before thedeadline. Management researchers often talk about cheap and rapiditeration as cheap and rapid experimentation. The ability to run experimentscheaply and quickly is an important benefit when the cost of iteration is low.Simulation technologies, for example, allow automakers to run virtualcrash-testing experiments to determine the safety implications of many car bodystructures, more than they could afford to test with actual cars. 4 But experimentation, though important, is only part of what is achieved bycheap and rapid iteration. If you think and talk about iteration asexperimentation, low cost of iteration seems to make business more likescience. Its broader effect, though, is to make business more like art. Here's why: Before you can crash test virtual cars,you must create virtual cars. Cheap and rapid iteration lets you test cars morecheaply, but it also lets you create them more cheaply, and in many more forms.The creation of things to test-;in scientific terms, the generation ofhypotheses-;is a fundamentally creative act. In many business situations,the hypothesis, problem, or opportunity is not well-defined, nor does itpresent itself tidily formed; you must therefore create it. Even when a problemor opportunity appears well-defined, often you can benefit from conceiving itin a new form. The form you conceive for it-;the idea of it youhave-;will determine how (and how well) you solve it. Cheap and rapidexperimentation lets you try new forms; cheap and rapid artful iteration helpsyou create new forms to try. Artful making (which includes agile software development,theatre rehearsal, some business strategy creation, and much of other knowledgework) is a process for creating form out of disorganized materials.Collaborating artists, using the human brain as their principal technology andideas as their principal material, work with a very low cost of iteration. Theytry something and then try it again a different way, constantly reconceivingambiguous circumstances and variable m...
Download Description
Artful Making offers the first proven, research-based framework for engineering ingenuity and innovation. This book is the result of a multi-year collaboration between Harvard Business School professor Robert Austin and leading theatre director and playwr
Artful Making: What Managers Need to Know About How Artists Work
Artful Making: What Managers Need to Know About How Artists Work,Robert Austin,Lee Devin,Financial Times Prentice Hall,0130086959,Business & Economics,Business / Economics / Finance,Business/Economics,Creation (Literary, artistic,,Creation (Literary, artistic, etc.),Creative ability in business,Fine Arts,Leadership,Management,Management - General,Management Science,Special Subjects In Art,Business & Economics / Systems & Planning
Hot Books:
Recommended Books