part5--rtgreenes book of 50pg excerpts of his 24 books--5th 4bks--culture and effectivens

8/17/2019 Part5--RTGreenes BOOK of 50pg Excerpts of His 24 Books--5th 4bks--Culture and Effectivens

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BOOK OF BOOKS by RTGreeneFirst 50 pages of 24 Books

TABLE OF CONTENTS

1. Your Door to Creativity --42 models summarized 8 in detail--PAGE 4--862. Are You Creative? 60 Models--world’s most comprehensive--PAGE 88-142 3. Are You Creative? 128 Steps--to becoming creator & creating--PAGE 143-192

4. Getting Real about Creativity in Business--measures tools--PAGE 193-245 5. Your Door to Creativity, Revised --42 general 12 deailed models--PAGE 246-3036. 72 Innovation Models--a grammar of changes that change history--PAGE 304-367 7. Creativity Leadership Tools--intructors’ manual & student text--PAGE 368-420 8. Creativity Leader --managing creativity of self & other, everywhere--PAGE 421-4689. Thinking Design--160 approaches, tools, leading design, designs that lead--PAGE 469-53810. Designs that Lead, Leaders who Design--an article collection--PAGE 539-594

11. Are You Educated?--an empirical science-based definition as 48 capabilities--PAGE 595-65712. Are You Educated, Japan, China, EU, USA--300 capabilities from 5 models--PAGE 658-728 13. Managing Self--128 Dynamics--redoing Plato, Freud, Sartre, Kegan,Zen--PAGE 728-80514. Power from Brain Training--exercises for 225 brain modules--PAGE 806-86615. Knowledge Epitome--200 new face to face tools from revising ancient media--PAGE 867-93316. Your Door to Culture Power --the shared practiced routines model--PAGE 934-98917. Culture Power --what can be done with it, models & articles--PAGE 990-1055

18. Global Quality --24 approaches, 30 shared aims, quality soft-&-hard-ware--PAGE 1056-1129

19. Are You Effective?--100 methods from the world’s top performers--PAGE 1130-1193 20. A Science of Excellence--54 routes to the top of nearly any field--PAGE 1194-124221. SuperSelling--tools, methods, cases from 150 best at ALL forms of selling--PAGE 1243-130422. Managing Complexity --3 sources, 3 paradoxes of handling them--PAGE 1305-1370 23. Taking Place--creative city theory & practice via 288 city-fications--PAGE 1371-143124. Innovations in Innovation--& in 29 other creativity sciences--PAGE 1432-1491

All page numbers are PDF not print page numbers.

FREE download of this entire book of books via either LINK below:

https://drive.google.com/open?id=0B9XSvwJ-xErSSkoyMGU0azN0eF k

https://drive.google.com/open?id=0B9XSvwJ-xErSYVZJM3lXNUgwbm8

STEP 1--use links below to download FREE 1450 page PDF file of

the first 50+ pages of EACH of Richard’s 24 books below.STEP 2--choose titles below to order, email me at address at bottom

of this page, I send PayPal fund request $20/title, you PAY withyour Paypal, instantly I send you LINK to book download = 3 min. total

[email protected]


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YOUR DOOR TO CULTURE POWER: 7 Metho& O'E R

COPYR.T 201 )3 Ri-h"rd T")or .reene, $$ Ri4hts Reser/ed, Re4istered em"i$: ri-h"rdt4reene5"$#m6mit6ed# COPYR.T 201 )3 Ri-h"rd T")or .reene, $$ Ri4hts Res

ge 1

GreeCreativity Scien

SOLUTION

GreeCreativity Scien

SOLUTION


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YOUR DOOR TO CULTURE POWER: 7 Metho& O'E R

COPYR.T 201 )3 Ri-h"rd T")or .reene, $$ Ri4hts Reser/ed, Re4istered em"i$: ri-h"rdt4reene5"$#m6mit6ed# COPYR.T 201 )3 Ri-h"rd T")or .reene, $$ Ri4hts Res

ge 15

The Fukushima

Disaster came

from (was caused

by) ordinary

Japanese

Management

Culture--say

3 reports. Then

the excuses

began.

Why do culturesoffer mostly solu-

tions that per-

petuate their

deepest prob-

lems?

How does the

East Asian

solving paradigm

1) solve by

problem denial

2) solve by social

pressure bullying3) solve by emotional

closeness

4) solve by maximizing

effort/spirit

fix most problems but

by creating regular

giant disasters?

Or does it?

A

3 pgs FUKUSHIMA Culture-Caused Disaster

7 pgs 2008 Finance MBA-Caused Disaster

5 pgs Leadership Cultures 3 pgs Risk Culture

1 pg System Effects 1 pg Men 4 pgs Design

Notice Nihon no Kaki

B

The solution to

the regulatory

capture problem

is moving the

regulator out

of the govern-

ment developer,

but keeping the

secretariat that

does all the work

(except 5 leaders)

THE SAME.

Make the head

of the 5 new

regulators the

former head of

the developers.

1) Is this evil? 2) Is this natural? 3) Is the universal or culture specific? 4) Does your nation do more or less of this than Japan?

5) What role does East Asian solving a) by problem denial b) by social pressure bullying c) by emotional closeness d) by

maximizing effort/spirit--play in generating this fake solution? WHY is NO EFFORT or SOLVING made to CHANGE CULTURE?

both here and elsewhere? Why is Culture Change both NEEDED and AVOIDED completely? WHY?

C

DISASTER TWO: 2008 GLOBAL FINANCIAL MELTDOWN---is the economics profession

evil?

D

1) W

List 1

2) W

appl


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CULTURE

POWER:What Can be Done with It,Assembled Models & Artiles

b!

Rihard Tabor "reene

Com#anion $ol%me to o%r Door to

C%lt%re Power, A##liations o' Its

(hared Pratied Ro%tines

A##roah


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CULTURE POWER--WHAT CAN BE DONE WITH IT

TABLE OF CONTENTS

THE SHARED PRACTICED ROUTINES APPROACH TO CULTUREYour Door to Culture Power--Lecture Notes from U Chicao! U "ichia#! $eio! %ei&i# U'ree#e(s Culture Course I#itial E)ercises--source materials* +our ,li#s.ots to +our ow# culture! culture of

a .ractice /.are#ti#0! culture of a .rofessio# /scie#ce i# e#eral0Articles with 1uestio#s--u#ersta#i# culture 2ia case a#al+sis--3u4ushima! 5667 3i#a#ce Crisis! Others

CULTURE THEORY! %ASIS! AND %ASICS

3ractal "oels of Culture--A New I#tellectual I#terfaceTu#a,le "oel 'ra#ularit+--Usi# a New Tool* 3ractal Dime#sio#s--a Culture E)am.lePowers of Culture--Co##ecti# Culture with Hih Performa#ce89 Powers of All Cultures--that +ou must s.ot a# ha#le86 3acets of a# O2erall "oel of Culture Phe#ome#aEm.irical Defi#itio#os of Eucate#ess /It is #ot Lear#i#! Teachi#! I#formi#0

THE CULTURE O3 %I'-NESSThe Nature of %i Ora#i:atio#sPerso#al PR ;or4,oo4--? Traits of Hih Performa#ce Teams

USES O3 CULTURE>? Pur.oses of All Arts'etti# to Sustai#/-a,le S+stems0 2ia Usi# Sur2i2a,le a# Im.ose-a,le O#esPreicti# Prouct Prici#! =ersio#s! Sales 2ia "a.s of I#teractio#s of culture of De2ices a# UsersCommu#it+ Culture I#2e#tio#--I#sta#t Self A#thro.olo+ Usi# Commu#it+ 1ualit+ Ca,arets

The Life a# Death of Each a# E2er+ Tool--the Culture of Tool Use i# E2er+ 3ielThe Role of Culture i# S+stems E#i#eeri#

CULTURE O3 INNO=ATIONThe Culture ;or4 of I##o2ati#* Cultures Desi#i# Themsel2esThe Culture ;or4 of I##o2atio#* 'etti# Real a,out I##o2ati# i# %usi#ess 5B ;a+sThe Culture of the ;orl(s "ost =alua,le Com.a#+

3ORCES AROUND AND CHAN'IN' CULTURES"easuri# Social#ess* 8> $i#s a# ;a+sDialo amo# 3i2e T+.es of $#ow# Com.utatio#al S+stem S.aw#i# Others876 3laws i# Thouht5 S+stems Effects>6 "oels of Creati2it+* Assessme#t a# Other UsesOur Dual Sel2es* 3ast Self a# Slow Self--La#sca.es of Desi# a# Leai#

LE=ERA'IN' DI=ERSITY--si#le lare article o# 99 tools

5

6

43

111

137

138

163

174

183

189

205

210

211

214

240

241

243

244

254

255

260

261

270

274

275

276

277

278

310

316

323

334335

344

345

355

373

377

378

392

393

394

398

403

404


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PREFACE

These two ,oo4s--Your Door to Culture Power a# Culture Power--What Can be Done with It--are com.a#io#s The first .rese#ts a si#le e)tremel+ .owerful 2iew of culture--the Share

Practice Routi#es moel This moel allows ,ei##ers to the ha#li# of culture to thi#4

throuh cases a# a..licatio#s! theor+ ta#les a# $ulture $oa#s! errorlessl+! from start No

other moel /a# ,oo40 achie2es this! as of the time of this writi# The seco#! the ,oo4 +ouha2e #ow i# +our ha#s! a..lies that si#le .owerful 2iew from the first ,oo4 to m+ria cases

a# thouht .u::les It ets us .ractici# clear thi#4i# a,out culture matters a# trai#s us all

i# sto..i# the ta#le of slo..+ moels of culture i# our heas from .are#ts! .eers! schools!

Har2ar! Hofstee! a# others who ha2e #ot o#e their homewor4 a# merel+ .u,lishe

,ecause the+ ca#! wor4s of u,ious i#te#t a# worth whe# use

You easil+ fi# ,oo4s o# culture that claim it is all we huma#s thi#4! feel! a# o! that are a

cou.le of hu#re .aes lo# a# ha2e two or three short < to 7 .oi#t moels of culture That!

as reaers alrea+ a..reciate! is riiculous If culture is all we o! the# 9 moels of 7 .oi#ts are

oi# to ,e worthless! ,oth for theor+ a# for .ractice You easil+ also fi# ,oo4s lost i# the ?6

+ear lo# ime#sio#s chasi# tra. e#erate ,+ Hofstee His lare istorti2e I%" em.lo+ee

worl sam.le! ?6 +ears ao! was su.erficiall+ treate ,+ mere factor a#al+sis! .rouci# > the#

7 ime#sio#s that were the mi#imal #um,er of thi#s to loo4 at to isti#uish o#e culture

from a#other But those 8 things were NOT the number of things any particular situationor case needed examined in order to act powerfully inside your own or someone else’sculture. So acaemics i #othi# for ?6 +ears! a..ro)imatel+! ,ut a..l+ those 7 factora#al+sis results! from a lo,al sam.le of I%" em.lo+ees e#tirel+ u#re.rese#tati2e of #atio#al

cultures /a# certai#l+ #ot of e#er! .rofessio#! ,usi#ess .ractice! e2ice! esi# cultures0 to

this a# that ti#+ to.ic /for .u,lishi# a# acaemic .romotio#0 The literature that results is

ho.elessl+ mule i# theor+! a# ho.elessl+ worthless for .ractice How o I act

Fcommu#all+F #ow i# this Ga.a#ese .olice statio#--is the si#le .hrase that ca.tures the

worthless#ess of ime#sio# chasi# i# all its uises

"+ two ,oo4s are a#other e#eratio# of thouht! far ,e+o# ime#sio# chasi# I#ee to

ma4e fu# of Hofstee a# the thousa# acaemics who a.e him! I .rese#t i# ,oth m+ culture,oo4s >? ime#sio#s! 857 ime#sio#s! a# 85 ime#sio#s--,ecause the #um,er of ime#sio#s is

ar,itrar+--it is #ot the smallest #um,er of iffere#ces we wa#t i# culture situatio#s! it is the

thi#s to #otice here a# #ow that i2e us .ower i# this situatio# that we wa#t

Culture Power--What Can Be Done with It is i2ie i#to #i#e sectio#s

3irst is lecture #otes o# the Share Practice Routi#es 2iew of m+ first ,oo4! followe ,+ the

source materials for 9 e)ercises i# a..l+i# that 2iew that I ha2e use for +ears i# classes a#

co#sults The first e)ercise as4s .eo.le to fi# a# escri,e the ,li#s.ots a,out their ow#

culture that .eo.le! li4e them! ha2e a,out their ow# culture--what oes +our ow# culture ,li#

+ou to seei# a,out flaws i# +our ow# self a# culture The seco# as4s .eo.le to et out of

the foolish rut of thi#4i# culture mea#s #atio#al culture! ,+ etti# .eo.le to characteri:e the

culture of a .ractice--.are#ti#--i# ,oth their ow# a# other cultures! a# a relate .ractice--schooli# The thir as4s .eo.le to characteri:e the culture of a .rofessio#--i# this case

scie#ce i# e#eral as a culture After ha2i# o#e this wor4! .eo.le are immu#e to the

elusio#s of Hofstee ime#sio#s chasi#---for the+ ha2e alrea+ ,uilt moels of ? cultures

far more useful for theor+ a# .ractice tha# a#+ set of t#e or less ime#sio#s

Seco# te# com.o#e#ts we #ee i# orer to use cultures /a# u#ersta# for use0 a# 89 .owers

of culture we ha2e to u#ersta#! watch out for! a# ha#le! are .rese#te This sectio# e#s

with moels of eucate#ess--,ecause culture comes from a# is cou#tere ,+ eucatio# ,ut


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little eucati# oes o# i# our moer# worl It has ,ee# re.lace ,+ mere i#formi# /which

the we, oes ,etter tha# teachers0 U#er#eath the com.le)it+ of te# com.o#e#ts a# 89

.owers lies the e#eratio# i# us all of u#co#scious share hea2il+ .ractice routi#e sets 2ia

.are#ts! .eers! schools! meia! a# e#2iro#me#ts i# which we were raise

Thir the culture of si:e itself is e)ami#e %i-#ess ma4es leaers more #arcissist! more

.s+cho.athic! a# more .rimate mo#4e+-li4e i# st+le Thouh this is most .ro#ou#ce i# a#lo-

cultures! it is fou# i# all worl cultures that ha2e ,ee# e)ami#e for it %ei# a# effecti2e self

i#sie the cultures of ,i#ess is a au#ti# challe#e that ma#+! .erha.s most of us! fail to

ha#le The ,i-#ess culture a,sor,s our sel2es as cultures #ot the other wa+ rou# How to

e#erate ,oth +our ow# culture a# how to cha#e the culture of lare ora#i:atio#s with it is

.rese#te as etaile methos!


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THE SHARED

PRACTICED

ROUTINES

APPROACH TO

CULTURE


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YOUR DOOR TO CULTURE POWER: 100 TOOLS Copyright 2010 by Richard Tabor Greee! "## Right$ Re$er%ed! Regi$tered &ith US Go%er'et

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YOUR DOOR TO CULTURE POWER: 100 TOOLS Copyright 2010 by Richard Tabor Greee! "## Right$ Re$er%ed! Regi$tered &ith US Go%er'et

TR"(SPL"(T)(G +ELPS )( OR)G)( (

+)(DERS )( OR)G)(

+ELPS )( T"RGET

+)(DERS )( T"RGE

peop#e are ot a&are o, $-ch $-pportE*".PLE: Lico# E#ectric/$ %ery $-cc

peop#e de%e#op e#aborate e5pe$i%e $E*".PLE: T7. i%eted i 8apa a$

peop#e ,ai# to otice ad -$e $-pport$E*".PLE: Wa#'art etered the 8apa

peop#e are $o -$ed to certai '-da

E*".PLE: .ercede$ tra$p#atig th

W+Y W+Y W+Y< WE "S=T+OSE PEOPLE .UST 14 +OW DO WE SEE SUPPORTS

"LW"YS T+ERE! )(?)S)2LEEC"USE +OW T+)(GS +"?E"LW"YS 2EE( )( OUR CULTURE<

24 +OW DO WE SEE RES)ST"(CES

(O O(E T"L=S "OUT OR PL"(SSPEC)"LLY 3OR 2EC"USE T+E L"Y

O3 OUR L"(D! +OW RE"L)TY )S +ERE<

@4

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CULTURE OF THE

BUSINESS

PRACTICE

along 64

dimensions

CULTURE OF TARGET (we!e "!a#$i#e is a""lied o!

$!ans%e!!ed $o& along 64 dimensions

' ' o ' ' ' ' ' '

' ' ' ' ' ' ' o ' ' ' '

o ' ' ' ' ' ' ' ' '

e$#)s"a!se ma$!i o%*

some s$!ong "osi$i+e in$e!a#$ions,some s$!ong nega$i+e in$e!a#$ions,some wea- "osi$i+e in$e!a#$ions,some wea- nega$i+e in$e!a#$ions,

./$ mos$ in$e!se#$ions sowno in$e!a#$ions a$ all)

TRANSFERRING0P!a#$i#es, P!od/#$s, Leade!si"'''ACROSS CULTURES

Te 1e$od

CULTURE OF

ORIGIN

(o% some ./siness

"!a#$i#e&

along 64

dimensions

CULTURE OF SO1E BUSIN ESS PRACTICE

along 64 dimensions

' ' o ' ' ' ' ' '' ' ' ' ' ' ' o ' ' ' '

o ' ' ' ' ' ' ' ' '

e$#)s"a!se ma$!i o%*

some s$!ong "osi$i+e in$e!a#$ions,some s$!ong nega$i+e in$e!a#$ions,some wea- "osi$i+e in$e!a#$ions,some wea- nega$i+e in$e!a#$ions,

./$ mos$ in$e!se#$ions sowno in$e!a#$ions a$ all)

4 THINGS TO HAN2LE*

3) el"s'''in o!igin #/l$/!e no$ in $a!ge$ #/l$/!e

) ind!an#es0in o!igin #/l$/!e no$ in $a!ge$ #/l$/!e5) no$ in o!igin #/l$/!e el"s in $a!ge$ #/l$/!e

4) no$ in o!igin #/l$/!e ind!an#es in $a!ge$ #/l$/!eEA1PLES* To-7o 2isne7land +e!s/s E/!o2isne7'''"!od/#$ %!om S) Cali%o!nia #/l$/!e o% o!igin, $!ans%e!!ed $o 8a"an and F!an#e, s /##eeded in 8a"an, %ailed in F!an#e

To7o$a in 9en$/#-7 and N/mmi''''%ailed in N/mmi s/##eeded in 9en$/#-7 ./$ wi$ man7 #anges

1e !#edes "/$$ing /" Ge!man A""!en$i#e s7s $em in USA So/$ Ca!olina''''%ailed /$$e!l7

Lin#oln Ele#$!i# "/$$ing /" Pie#e :o!- Pa7 s7s $em in E/!o"e'''./$ AFTER ./ilding %a#$o!ies %o/nd i$ was illegal in E/!o"e


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SOUTHERN

CALIFORNIACULTURE

1. laid back not intense

2. glorios !eat"eral!a#s not rain$gloo%

&. drea% not realit#

indstries

'. de(ense not )ri*ateindstries

+. (ace Asia not Ero)e

,. )blic coast not )ri*ate

-. T s"irt not ble sit

. gold$(rontier$(ortnedrea%ers not i%%igrant

boat land drea%ers

/ISNE0 CULTURE1 esca)e 2 (antasies & s#ste% ' (ll# + *ie!ers , tig"trealit# nicer t"an e3)erience4 scri)ted not )la#ers control

not (ace it realities 5 )rodct roles no i%)ro* s%ile# lions

FRENCH CULTURE

1. strong "ierarc"#6 elite do not

%ingle !it" !orkers 5 strongsocialist nions6 )arties

2. to) 5 abstract6 %at"e%atic6

/escarte botto% 5concrete6

&. (a%il# o*er !ork

'. design st#le o*er content

5 like Ugl# %o*ie stars

+. intellectal con*ersation o*er

!ealt"

,. 2 "or lnc"es o*er !ine

-. la gloire777#earning (ors)ecialness a%id Ero)e6Concorde

. glor# t"rog" %ind and st#leand li(e 8alit# not %on%ents6

bildings6 !ealt"

Matrix Method Example

1. HELPS in 2. HINDERS in 3. HELPS in 4. HINDERS in

Origin Not in Origin Not in Target Not in Target Not in

Target Target Origin Origin

THE METHOD:

Step One---for one c!tre "#ic# po!e i$ it %e&a'p!e: #ierarc#( or e)a!it(*

Step T"o---$tate HO+ an, +HERE t#at po!e $#o"$ p i$ i$i/!e in c!tre one

Step T#ree---,o t#e $a'e a$ $tep one for $econ, c!tre $e!ect po!e

Step 0or---,o t#e $a'e a$ $tep t"o for $econ, c!tre $tate #o" an, "#ere t#at po!e

c#o$en $#o"$ p i$ i$i/!e in c!tre t "o

STEP 0IE---$tate INTERTION

Repeat 4 ti'e$.

THE E5MPLE:

#ierarc#( er$$ e)a!it(

HO+6+HERE DOES THIS SHO+ 7P IN 7LT7RE 5 STRON8L96ISIL9;

E&a'p!e:

Sot#ern a!ifornia !tre

e)a!it( NOT #ierarc#(

---$#o"$ p in ,i$o/e,ience to an, ,i$re$pect for /o$$e$ of a!! $ort$---not ta


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C OP Y R I GH T 1 9 9 3 B Y R I C H AR D T AB OR GR E E NE , AL L R I GH T S R E SE R V E D , U . S . GOV E R NM E NT R E G I ST E R E D , r i ch a r d ! r ""# "$ a %& '. 'i . "d &

ARACTERIZE 3 CULTURES :STEP 1: Put an image for Origin Culture in TOP of each Column 2 box; STEP 2: Put an image for Target Culture in BOTTOM of each Column 2 box; STEP 3: Put an image for ProductPractice Culture in each !O" 3 box; MARKRONG INTERACTIONS AS 2 SPARSE MATRICES ON ONE DIAGRAM BELOW STEP #: Examine E$C% ProductPractice &M$'E for "%&C% of each of the 1( !O" )to* + origin bottom + target, image- it interact- ST!O.'/0 ith *ut in box )to* or bottom, "%$Tt interaction i-; MARK HELP-HINGER ORIGIN-TARGET FOR STRONG INTERACTIONS STEP : Put in -uch boxe- of ST!O.' interaction exactl4 hat the interaction i- and hether it i- a %E/P or %&.5E! + ho doe- origin %el* or %inder Practice and 6ice-a; + ho doe- target %el* or %inder Practice and 6ice 6er-a; STEP (: Mar7 %E/PS a- Origin or Target Mar7 %&.5E!S a- Origin or Target; STEP 8: /i-t on -e*arate *a*er 9O!: %el*- in Origin not in Target %inder- in Origin not in Target %el*- in Targetin Origin %inder- in Target not in Origin; INVENT HANDLING OF THE FOUR STRONG INTERACTION TYPES---STEP 8: Dev!e "#$"$! %&' e#$( &% "(&!e FOUR: (#)*+e ,!!) (e+.! ) "#'e"/ e" #*v#)"#e %'&, ()*e'! ,!!) ) "#'e"/ e"

v#)"#e %'&, (e+.! ) "#'e" )&" &')/ $&0)"e'#$" ()*e'! ) "#'e" )&" ) &')1

!C/E BOES O9 ST!O.' &.TE!$CT&O.S O9 5&ME.S&O.S BE/O" $.5 .OTE # T%&.'S: %E/PS &. O!&'&. .OT &. T$!'ET %&.5E!S &. O!&'&. .OT &. T$!'ET %E/PS &. T$!'ET .OT &. O!&'&. %&.5E!S &. T$!'ET .OT &. O!&'&.

MATRI) METHOD *( 'aric"+ i# 1-h" 1 / 1 0 ( 2/"+ 4& ( SCORES,TOP 0 Ori!i#, BOTTOM 0 Tar!"

ACROSS5551 DIMENSIONS O6 THE CULTURE O6 A PARTICULAR PRODUCT7PRACTICE7LEADER7GROUP7PERSON-

SOCIAL PSYCH Hampden-Turner, Hofstede, Bond, Nisbet GENE! STYLE Tannen, de Beau"oir, #riedan, Nisbet E$ISTENTIAL %&ESTIONS 'u(ai, LaoTsu, Sartre, Nisbet CO)PLE$ITY Geert*, +eisbord, Grunne, Todoro", Nisbet

RANK image GROUP image TIME image RELATIONimage

INPUT?OUTPUT

image

EMOTIONimage

PURPOSEimage

CONFLICTimage

SITUATIONimage

CHOICEimage

IMPACTimage

FLAW image WORK image SACREDimage

CREATIONimage

COMPLEXITY image

8N5551 DIMENSIONS O6 THE CULTURE O6-!i# C&%&r" I+- Tar!" C&%&r" I+-

RANK 2 images:ie!a!"#$!ega%i&a!ia' ma(e $!e'"$)!age s&a&)s*i++e!e'"es $!

e,)a%iam$'g )se!s

-$.e!+!$m "%$se'ess $! -$.e!+!$m *is&a'"e

ma(e )se!s"%$se!&$ ea" $&e!$! m$!e *is&a'&i' !e%a&i$'si- &e!ms

a"ie/e* $!as"!i0e* !a'( -!i/i%ege -!e1a!!a'ge* !$%es)se!s $!ig"$'&!i0)&i$' $'es

+$!eg!$)'* i&em $!0a"(g!$)'*

'$&i"e* Nis0e&

!e,)i!e '$&i"i'g +$!eg!$)'* i&ems$!

0a"(g!$)'* i&ems&$ *$ .$!(

GROUP 2 images:i'*i/i*)a% $!"$mm)'i&a!ia' !e,)i!ee'"$)!age i'*i/i*)a% .$!( $!g!$)-1

-!$*)"e* .$!(

)'i/e!sa%is& $!-a!&i")%a!is&3/isi$' /s4 "ase *e&ai%s a!e !ea%5

!e,)i!ee'"$)!age /isi$'a!#)se!s $!e6a"&*e&ai%e* )se!s

i''e!$!$)&e!%$")s$+"$'&!$% es&a0%is"$'+i!m se%+as"$'&!$%%i'g $!si&)a&i$' as"$'&!$%%i'g

e'/i!$'me'&: "$'&!$%%a0%e $!)'"$'&!$%%a0%e

ma(e e'/i!$'me'&s$+.$!( "$'&!$%%a0%e $!)'"$'&!$%%a0%e

TIME 2 images:a'a% #si s $!s#'& esis e'"$)!age m a(i'g * i s& i'"&i $'s$!"$m 0i 'i'g

*i++e!e'"es

se!i a % $!-a!a% %e % e'"$)!age se,)e'& i a% . $!( $!. $!(i 'g i ' -a!a%%e%

$'e "a'"e $!se/e!a% "a'"e%i/es

a%%$.+)%% eas# !e"$/e!# +!$m e!!$!s $! -)'is!)i' .$!( .i& e!!$!

"a)sa&i$':-%)!a% *is&!i0)&e* $!si'g%e %$"a%

es&a0%is &i'gs +!$m si'g%e "a)ses$! +!$m")m)%a&i$'s$+" a)ses

RELATION 2

images:

+!ie'*s$/e! !ig&'ess $!!ig&$/e!+!ie'*s

+a/$! !ig& i*eas$!!ig& !e%a&i$'si-s&e m$s&

)ma's-!ima!# $!e,)a% &$

$&e!%i+e

"e'&!a%i7e )ma's $!"e'&!a%i7e a%% %i/i'g

0ei'gs

!ig& /s4 !ig& $!!ig& /s4.!$'g

e'"$)!age +$!m)%a&i'g am0ig)$)s si&)a&i$'s&$!$)g%# $!"a&eg$!i7i'g si&)a&i$'s i'& -!e1

se& g$$* a'* 0a* -es

"a&eg$!ies $!!e%a&i$'si-s

Nis0e&

i'&e!a"& e'&i&$ e'&i $!-e!s$' &$ -e!s$'


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C OP Y R I GH T 1 9 9 3 B Y R I C H AR D T AB OR GR E E NE , AL L R I GH T S R E SE R V E D , U . S . GOV E R NM E NT R E G I ST E R E D , r i ch a r d ! r ""# "$ a %& '. 'i . "d &

INPUTOUTPUT 2images8

s& a& )s$!"$''e"& i$' !e.a!* $)&1*$i 'g $ &e!s$!"$''e"&i 'g . e% % & $$&e!s

e6"%)si$' $!i'"%)si$' -!$g!ess /ia m$!e a'* m$!e e6"%)*i'g $!/iam$!e a'* m$!e i'"%)*i'g

& e% % $ ! % is &e ' - !$ /i *e i' +$ +$ ! $ & e! s $ ! $0 &a i' i' + $ + ! $m$&e!s

*!i/e +$!i'*i/i*)a%:*is&i'"&i$'$!+i&&i'g i' Nis0e&

e'"$)!age )se!s &$ %$$( *is&i'"& +!$m $&e!s$!+i& i' .i& $&e!s

EMOTION 2

images:

+ee%%i'g as: i'&e!es&i'g $!

em0a!!assi'g

!es-e"& a'* e'"$)!age e6-!essi'g)si'g

+ee%i'gs $!i'*e! i&

mis1ea!i'g as:!e%a&i$' $!s&a&)s&!ea&

ma(e %$'e%i'ess $!+ee%i'g i's)%&e* &e !es)%&$+!es-$'se +ai%)!es

a!s'ess as: -e!s$'a%!e9e"&i$' $!sig' $+!es-e"&

ma(e -e!s$'a% !e9e"&i$' $!!es-e"& &e !es)%& $+a!s !ea"&i$'s

0a"(.a!* !eas$'i'g $!+$!.a!*!eas$'i'g Nis0e&

e6&e'* as-e"&s$+ -!ese'& si&)a&i$' &$.a!*s$%)&i$'s'ee*e* $!e6&e'* 0a"( +!$m s$%)&i$'s'ee*e* &$ -!e1s$%)&i$' s&e-s'ee*e*

PURPOSE 2images8

i'+$:mi'* &$ mi'* $!!e%a&i$': -e!s$' &$ -e!s$'

%i'( &$)g& &$ &$)g& $!-e!s$' &$ -e!s$'

&a%( &$ s$%/e $!&a%( +$!em-a&#

)se i'&e!a"&i$'s &$ s$%/e $!&$ em$&i$'a%%#)'*e!s&a'* $&e!s /ie.-$i'&sa'* si&)a&i$'s

e6a"& i& )*e $!*e&a i % !e,)i !e $!e'"$)!age -!e"i si $' $!& $!$)g

"$/e!age $+*e&ai%s

-!ese!/e: sa/e +a"e $! sa/e

&!)& Nis0e&

+a/$! 0ei'g &!)e a&a "$s& $+ 0ei'g a&e* $!

0ei'g %$/e* a& a"$s& $+0ei'g )'&!)e

CONFLICT 2images:

i'*e-e'*e'& $!*e-e'*e'& )se i'&e!a"&i$'s &$ ma(e )se!m$!ei'*e-e'*e'& $!&$ ma(e &em m$!e *e-e'*e'&

"$'&es& $!"$mm)'i es&a0%is "$m-e&i&i$' $!/i"&$!iesam$'g )se!s$!sa!e* +ee%i'g a'* "$mm)'iam$'g &em

a!g)me'&a&i/e $!a-$%$ge&i" e'"$)!age a!g)me'&a&i/e"a%%e'gi'g i'-)&s$!a""$m$*a&i'ga-$%$ge&i" $'es

"$'&!a*i"&i$':&$%e!a&e* $!'$&

&$%e!a&e* Nis0e&

)se a'* -!$*)"e "$'&!a*i"&i$'s $!a/$i* a'*

+ai% .e' &i'gs "$'&!a*i"&

SITUATION 2

images:

MYSTERY: .#s$me&i'g?

-e$-%e $!i's&i&)&i$'se&e!'a%

&!ea& )se!s ase6-e'*i0%e a'* .$!( as /i&a% $!

&!ea& .$!(s ase6-e'*i0%e a'* )se!sas /i&a%

AR;ITRARYNESS: .#e!e< '$.?

e&'i" g!$)- 0asis$! +)'"&i$' 0asis

!e,)i!e a'* !e.a!* )se!s+$! &e g!$)-!$%e&e#0e%$'g &$ $!+$! &e +)'"&i$'s &e#

-e!+$!m

EMPTINESS: .e!e is

mea'i'g?+$)'* $!ma*e mea'i'g

i'/i&e )se!s &$ "$'s&!)"& &e mea'i'g $+&ei!

e6-e!ie'"esa'* .$!( $!&$ +i'* i&

RELATI=ITY: .a& is&!)e?

%i+eg!$)-s a!e a!!a'geme'&s$+:&as(s $!-e$-%e Nis0e&

0e%ie/e/a%)e )se!s0e"a)se $+ .$ &e# a!e $!

0e"a)se $+.a& &e# *$

CHOICE 2 images: FREEDOM: #$) "a'& see me!$%e > i4*4 $!i'&e'& > i4*4ma(e )se!s+!ee &$ -%a#a'# !$%e &e# .a'& $!+!ee &$ -)!s)e a'#g$a% &e#.a'&

LONELINESS: .# %$/e *ies?

%$/e &e !$%e $!%$/e &e -e!s$'

e'"$)!age )se!s &$ %$/e*e-e'* $' &e !$%es

$&e!s-%a# $! %$/e &e -e!s$'a%i&ies $&e!sa/e

INAUTHENTICITY: .#

*$es -$sessi'g ma(e me$09e"&a*a-&$!s$! !e/$%)&i$'a!ies

-)%% )se!s0e#$'* ")!!e'& /ie.s< a0i&s< a'*

g$a%s$! -)%% )se!sm$!e i'&$ ")!!e'& /ie.s<a0i&s< g$a%s

RESPONSI;ILITY:.a&.$ am I?&e se%+is: )'i&a!#a"!$sssi&)a&i$'s $!/a!ies 0#si&)a&i$'

Nis0e&

!e,)i!e a*i++e!e'& )se! -e!s$'a i' *i++e!e'&a--%i"a&i$' si&)a&i$' $!!e,)i!e &e same )se! -e!s$'a a"!$ssa%% si&)a&i$'s

IMPACT 2 images:MORTALITY: m)s& I*ie?

*ea& ism$s& !ea% $!%i+e ism$s& !ea%

-)%% )se!s0e#$'* %i/i'g a'* ea!& $!-)%% )se!s

m$!e i'&$ %i/i'g a'* ea!&

NAUSEA: .# e'gage )g%#

%i+e?+%a.: i'g!a&i&)*e $!)'+!ee

-)'is $!!ea"& 0a*%# m$s& &$ )se!s.$ +ai% &$

*e-e'* $' a'* &!)s& $&e!s$! .$ +ai% &$ g$ 0e#$'* $&e!sa'* &ei! $.' se%/es

CONTINGENCY: .# "a' I'$& ma(e m#$.' s&$!#

*$'& 0$&e!$&e!s $!se%+ Nis0e&

-)'is $!!ea"& 0a*%# m$s& &$ )se!s.$ 0$&e!$&e!)se!s $!.$ 0$&e!&emse%/es


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C OP Y R I GH T 1 9 9 3 B Y R I C H AR D T AB OR GR E E NE , AL L R I GH T S R E SE R V E D , U . S . GOV E R NM E NT R E G I ST E R E D , r i ch a r d ! r ""# "$ a %& '. 'i . "d &FUTILITY: .i%% i&I ma(e a*i++e!e'"e?

-!ese!/e: -ea"e+)%'ess$+e6&e!i$!s $!+ai!'ess $+e6&e!i$!s Nis0e&

!e.a!* m$s& )se!s.$ "$'+$!m &$ &as(s$&e!s$!.$ )-se& &as(s$&e!s

FLAW 2 images:TRAGEDY: $."$)%* Ia/e('$.'?*e'#"$'se,)e'"es$!*e'#

-$ssi0i%i&ies

a/e "$'se,)e'"es)se!s*is"$/e! 0# s)!-!ise%a&e!$! a/e $--$!&)'i&ies)se!s *is"$/e! 0#s)!-!ise %a&e!

SIN: .#I*$'& *$ m# $.' -%a's?

si&)a&i$' $!se%+&$ 0%ame

i'/i&e 0%ami'g &e i'&e!+a"e&e"'$%$g# +$!+ai%)!e &$ !ea" g$a%s $!i'/i&e )se!s 0%ami'g

&emse%/es

NOESCAPE: .# is'$&"$$si'g a%s$ "$$si'g?g!$)-s a"& $!se%+ a"&s

-!$*)"es!es)%&s .e' i'*i/i*)a%s i'-)&a"& $!.e' g!$)-s i'-)&a"&

AUDIENCE: amI ea!*?see'?%i+e isas&$!#$+:m#

e6-e!ie'"es$! &e g!$)-e6-e!ie'"esI-%a#!$%esi' Nis0e&

e6-$se $&e!s&$ m#*ee*sas a s&$!# $+ -$ssi0%e /a%)e $!e6-$se me a'* $&e!)se!s &$&e g!$)-s *ee*sasa s&$!# $+-$ssi0%e /a%)e

WORK 2 images:se'i$!s:"a!i'g $!"$m-e&i&i/e e'"$)!age se'i$!s&$ e%- 9)'i$!s$!&$ i'*e!

&em

.$!(: -%easa'& e'* $!)'-%easa'& mea's

&!ea& .$!( asa -%easa'& e'* i' %i+e $!asa')'-%easa'& mea's i' %i+e

!es)%&s:+!$m e++$!& $!&a%e'& !e.a!* &e m$s& &a%e'& .i& g$$* !es)%&s$!!e.a!* e++$!& &e m$s& .i& g$$* !es)%&s

.$!( &$ +ee% g$$* a0$)& se%+$!

.$!( &$ "!i&i,)e a'* im-!$/ese%+Nis0e&

e'"$)!age -e$-%e &$ .$!( &$ a--!e"ia&e 0e&&e!&em se%/es $!&$ .$!( &$ "!i&i,)e a'* im-!$/e&em se%/es

SACRED 2 images: g$*s: imma'e'& $!&!a's"e'*e'& -!$/i*e /a%)e a'* mea'i'g +!$m imme*ia&es$)!"es &$ imme*ia&e .$!( $!+!$m *is&a'&s$)!"es &$ *is&a'& .$!( !es)%&s

-!ima"#: %i+e $! ,)a%i $+%i+e sa"!i+i"e ,)a%i $+.$!( %i+e +$!!es)%&s $!sa"!i+i"e ,)a%i $+!es)%&s +$!,)a%i $+.$!(%i+e

&e .$!%*: issa"!e* $!is +a%%e' &!ea& a%% s&e-s$+.$!( as/a%)e* a'* mea'i'g1+i%%e* $!&!ea& a%% s&e-s$+ .$!( asi's&!)me'&a%&$$%s&$.a!* /a%)e* g$a%s

s)0s&a'"e $!$09e"& see' Nis0e& ig%ig& .a& &i'gs a!e ma*e $+$!ig%ig&

.a& &i'gs a!e ma*e $+s)0s&a'"es

CREATION 2images:

*!i/e &$ "e'&e!$! *!i/e &$ma!gi's

e'"$)!age -e$-%e &$ %ea/e $.$&e!s a!e $! &$m$!e *ee-%#em0e* &emse%/es i' $. $&e!s

a!e

se%+i'*)%ge'& as"e&i"ism $!m$*e!a&i$'

!e.a!* e6&!emes$+ &$)g& $!0ea/i$! $!m$*e!a&i$' $+&em

+$")s +!$m si'g%e -!$9e"& $!+!$m -a!a%%e% -!$9e"&s

+$")s )se!s$' si'g%e e++$!&s*i!e"&i$'s$! $' -%)!a% sim)%&a'e$)se++$!&s*i!e"&i$'s

"$i"e: $'e -$%e $!$&e! $! 0%e'*e* mi**%e Nis0e&

!e,)i!e "$$si'g am$'g -$%a!$--$si&es $! 0%e'*i'g *i++e!e'"esi'&$ am$*e!a&e mi**%e

COMPLEXITY 2images:

g!a*)a% "a'ge $! a/a%a'"es -!$*)"e g!a*)a% im-!$/eme'&sa'* !es)%&s $!s)**e' %a!ge %ea- im-!$/eme'&sa'* !es)%&s

$m$ge'ie$!*i/e!si !e.a!*!e,)i!e g!ea&e!*i/e!si am$'g )se!sa)se!$! g!ea&e!$m$ge'ei

*esi g' $!em e!ge'"e -!$*)"e !es)% & s 0# s & e- 0#s& e- *esig'i'g $!!es)%&s&a& se%+eme!ge +!$m m#!ia*

i'&e!a"&i$'s

.$!%* !ea%iis: s&a0%e $!i'+%)6 3"$'&!a"&sa%.a#s

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-!$misesm$!e &a' "a'gi'g &em $!

!e,)i!e!e.a!* "a'gi'g -!$mises m$!e &a'(ee-i'g &em


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YOUR DOOR TO CULTURE POWER: 100 TOOLS Copyright 2011 by Richard Tabor Greene, All Rights Reserved, US Government Registered

ULTURE: POWERS, HANDLING, TOOLSThe Approach of This Course

Why do we avoid something with so much Power?hat culture in all of us blinds us to culture and makes us flee it and

avoid handling it?

What is it?

Why study culture? It has power.

• Disney California big profit• Disney Florida big profit• Disney Japan big profit• Disney EU big loss for over 10 years• Columbia disaster MBAs over-ruled engineers• Challenger disaster MBAs over-ruled engineers

• Concorde disaste r Elite managers ruled workers• Fukushima “being close” created man-made disaster (ex-Todai report said)• Fukushima eating and drinking together MADE the disaster• Fukushima traditional Japanese management culture MADE the disaster.

= half of our biggest systems engineering disasters are causedby CULTURE

if you believe the final government reports on them.• The world’s MOST VALUABLE FIRM created by Jobs’s Design Culture emphasis• The world’s MOST VALUABLE PLACE, Silicon Valley, created by erecting an ANTI-CULTURE

selves, cultures, high performance are all exactly the samehing (a culture is just a particular arbitrary high performance)ORMAL IMPLICATIONS• T HEY ALL ARE---JUST SHARED HEAVIILY PRACTICED ROUTINES• selves and cultures are HIGH PERFORMANCES = arbitrary heavily practiced shared routines,

1) therefore, same mix of good and bad as all lives/groups are, results and ways BOTHuntested against any, many, or good alternatives BUT the ease, mastery of these waysbribes us into liking them better than more effective ways we later meet

• high performance and cultures are SELVES = they demand personal apology, praise, respect1) therefore, US offer of monetary bribes to Palestine fails, they want apology not money

• selves and high performances are CULTURES = relating requires penetration journey1) therefore, insight process trip alternating excess like excess dislike, till more abstractdimensions are perceived and related to

• cultures are SELVES AND HIGH PERFORMANCES = they want praise for their expertises 1) therefore, they mistake that praise as their real value is entirely positive, a delusion • selves are CULTURES AND HIGH PERFORMANCES = their arbitrary expertise needs notice/use 1) therefore, relationship building is an insight process of alternating like/dislike of more

and more abstract aspects of what they are • high performances are CULTURES AND SELVES = so you relate to them as persons 1) therefore, till you distinguish the individual expertly done routines their fame is based

on, they feel unseen and un-related to and disrespect you

3) INFORMAL IMPLICATIONS of the Self, Culture, PerformanceIdentity

• they are all just SHARED HEAVILY PRACTICED ROUTINES • What does this mean? 1) Are all Xers, Xy? Depends on which routines, how many rotines, practiced how much? 2) Are all kids versions of X, Xy? Not much because simple, few, little practiced routines. 3) Is X culture better than Y culture?

NO ANSWER depends on your aim and circumstances

4) Is X culture better than Y culture for A aim in B situation?NO ANSWER because X culture is NOT defined for any one person

X person’s representativeness of X culture depends on--which routines --how well praticed ---how many routines --practiced with whom

5) Is X culture as partly mastered in Person M for A aim in B situation better? THIS IS a WELL FORMED QUESTION so possibly yes or no answer

4) PRACTICAL IMPLICATIONS of the Self, Culture PerformanceIdentity

• WHEN IN X DO AS X-ERS DO = FORMALLY FALSE, many X-er routines don’t work in X Management DOES NOT WORK IN JAPAN--we have proof, Sharp, Sony, Tepco (there IS NO ONE WAY that WORKS anywhere, THAT we say one way DOES WORK shows we

lie to ourselves constantly about our own group and ways • CANNOT GO BACK FROM GLOBAL EXPOSURE = when an X-er learns Y ways, he/she no PREFERS own X-er ways NOT because dislikes own ways BUT because LIKES EXPANDED REPERTOIRE of ways for him/her to use • WE ALL JUSTIFY OUR OWN WAYS HENCE LAZINESS LIFELONG = we all collect storis to justify the way already effortlessly operating inside us = to justify NOT making the effort to find

if those ways actually work and to revise/replace them where they fail • ARE X-ER WAYS BEST WHEN IN X? =

1) acceptable ways to fail (using X ways in X is sociallysupported/accepted even when they fail--because? they fail?)

2) there is an invisible social life of supports for those X-er ways whether or not they workwhere foreign non-X ways will LACK such supports (have fewer ones)

3) BUT X-er ways in X PRECISELY perpetuate the deepest flaws, omissions, biases, and fail-ings of X, leaving ALL really big issues and challenges unmet or worsened

• WHAT ABOUT Y WAYS TRIED IN X?1) unless for or from brand new phenomena (few or new routines) probability of hitting real

impact is LOW 2) package + actual impact BOTH needed so Y ways may lack proper packaging needed to

be seen even when having impact and being successful (INVISIBLE success = failure) 3) BUT chance for real HOME RUN impacts is higher than X ways because X ways are edited

in history to precisely NOT address deepest blindspots , unfairnesses, and biases of X • THERE IS A FOUR POINT LANDSCAPE FOR APPLYING Y WAYS IN X LAND: (SEE 2 MATRIX METHOD BELOW: --helps in X culture not in Y’s origin culture --hindran ces in X culture not in Y’s origin culture --helps in Y culture not in X culture

--hindrances in Y culture not in X culture

-------------------------------------------------------------------------------------------

5) THE BRAIN MODULE LANDSCAPES OF CULTURE (Wexler, Ber-reby, Wildavsky, Baron-Cohnen)

• 98% of each day done by routines in us we are not conscious of • some action are more us-ly than others (more routines and more routines unique to us) • our fast brain sets emotionally the context of what our slow concept conscious brain

notices = groups GREATLY NARROW what gets NOTICED, IMAGINED as alternatives, andTRIED

• the noticings of groups are GENERALLY FALSE and self defeating ly self praising and narrow • = PEOPLE HATE EFFECTIVE CREATIVE INDIVIDUALS, they erode the effortless closeness and easy self love of groups • a SPECTRUM OF MALENESS from Autism, Asperger’s = systematizing brains no empathy to

schizophrenia (all around me are persons) = personalizing brains no systematicity • YOUNG MALE BRAINS OUT OF CONTROL---weak pre-frontal cortext till after 28 years old, wrongly assess risk all life long, less able to predict the future than women, incapable of

intelligent decision alone (hidden female partners throughout the history of great menand scientists--McClintoch, Franklin, Einstein’s first wife).

• GRINT’S WORK ON LEADERSHIP--THE LONE FEMALE LONE MALE IS INCAPABLE OFINTELLIGENT ACTION--units of one male or female with two member of opposite sex co-leading works well in history, lone leaders Napoleonize, Tojo-ize, believe their own pro-jected exaggerated dreams

6) What Brains Natural Selection Wants--Baron-Cohen • natural selection wants a zoo of many diverse brain (person) types • social groups want effortless shared easy routines (= little variety, no changes/objections) • BUT Giddens showed MODERN SOCIETY sequesters all IMPERFECT PERSON TYPES:

the young (schools) the old (nursing homes) the sick (hospitals), the deviant (prisons) = the ILLUSION Of NORMALS NEED NO CARE, atrophy of care, care work, compassi on • SONY, Elite Universit y Grads---PURIFY by SLOUGHING MISFITS TILL TILL TILL TILL TILL TILL • Dan Miller at McGill--- Success ALWAYS Fails--- by sloughing what does not work here till all

like each other sharing same routines THEN environment changes and ALL are USELESS = SONY, SHARP, TEPCO, GM, YAHOO, HP

7) TEST ON UNDERSTANDING • Japanese people are communal nt individual and like

doing things in groups? T or False? 1) WE CANNOT KNOW--they were raised without the

option of individual ways (lunch room hans in schools chastized not individuals, causing

bullying later) 2) THEY CANNOT KNOW--they are so much better mas-

ters of group communal ways that they cannot feel or imagine themselves equally masters

of individual ways X ways NOT done expertly, X ways NOT shared by

nearby others ARE NOT as much FUN • Americans are tolerant open people? T or False? 1) IMPOSSIBLE--Americans are not any one thing or way

(nor are Japanese, or X-ers) 2) DEPENDS ON WHAT--Any American tolerates some

kinds of things not others 3) DEPENDS ON HOW YOU MEASURE TOLERATE--Ameri-

cans are less tolerant in FORM of response, they eas-ily aggresively spit on strangers who differ, Japanese

By Richard Tabor Greene

How and why to handle culture,Why both MBAs & Engineers avoid it,The disasters that causes,The culture that makes us all avoidspotting and handling culture effects

T h e C U

R E f o r S

o n y

T h e C U

R E f o r Y

a h o o

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R E f o r T

e p c o

T h e C U

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are more tolerant in FORM of response, but emotionally like differences less than Ameri-cans

4) DEPENDS ON BREAKFAST--both Americans , Japanese, and X-ers--if they had a3) bad Z (breakfast, cat, etc.) today will react badly, tomorrow may react better.

YOU SPECIFY WHAT IS WRONG WITH THE STATEMENTS BELOW:1) Germans have a character they share that made Nazi-ism grow well there.2) Central control was so absolute in much of Japan’s history that ordinary Japanese cul-ture developed safe conversation topics only--food, media, sports, etc. and policy/intel-lectual topics were avoided as dangerous.

3) IBM developed a mainframe culture that almost killed IBM in 1992. SONY culture is nowkilling SONY.

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many privisos• the distributions of mastered routines OVERLAP

so 20+ percent of Japanese are more American than AVERAGE Americans etc.• the routines lose and g2ain favor and/or attent1ion (practice) = evolve

so without changing you can end up less Japanese or American than you were earlier• the routines can be expertly diligently done or inexpertly sloppily done

so some people are less Japanese, American, or Xian because poor routine performerspeople from one part of Japan measure less Japanese than from other parts

so X culture is NEVER uniform in space or time• we all have theories of our own culture as well as our own culture itself (routines shared)

so what we CLAIM about how we think, feel, behave SUBSTANTIALLY DIFFERS from howare found to be when actually measured---we are NOT as Xy as we always claim

• two hours of training twice in one week was enough to get Americans, one week laterto see and talk and act as Japanese do in one set-of-routines area and to get Japanese

to see and talk and act as Americans do in one set-of-routines area= cultures are powerful but shallow = easily changed INITIAL FACTORY SETTINGS

• CULTURE IS NOT NATION--gender, era, profession, device, organization cultures areusually much more powerful and practical parts of our work than Nations--COMMON ERROR--defaulting to nation as culture and missing gender culture effects,profession culture effects, device culture effects, organization culture effects

• nations and corporations are not basketball teams---people attach their PRIDES totheir own groups and cultures and TELL LIES ALWAYS to themselves then to you and meabout how good their groups and cultures are= DEALING WITH CULTURE PROFESSIONALLY is resisted, hard, makes uneducated peopleangry--their PRIDES depend on unthinking ASSUMPTIONS that their own ways are best= PEOPLE HAVE A BILLION EXCUSES why things have to be done THEIR old ways (= lazy,easy and automatic, shared and unthinking--not evidence of goodness just evidence of having learned them years ago in childhood) . NOTE GOVERNMENTS SELL CULTURES topopultions in school systems---naive uneducatedeople swallow those images withoutdemystifying them. EUROPEAN education AIMS for such demystification, Asian educationdoes NOT aim for it or tolerate it = much learning little educating.

99.99999% of our amateur casual statements about ourculture and others’ are COMPLETELY WRONG all the time

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SUMMARY--Culture Mental-Depth, Mental-Extent, Culture-elf-Performance Identity, Education-Adulthood, Gendered

Brain the CULTURE MENTAL-DEPTH phenomena:

1) culture (measurable actual reaction, attitudes, behaviors 2) theory we have of what our culture is (large departure from reality when mea-

sured)

3) social images of what “we” are (shared theory of our culture) = many maybe mostof us do NOT do X and Y, but we ALL feel expected by others of us to do X and Y,so we carry costs when we do not do X and Y, costs in our worry or diguising of what we are/do and costs in terms of others’ unthinking reactions as if all A-ersact A-ly all the time.

the CULTURE-SELF-PERFORMANCE IDENTITY phenomena: 1) cultures are routine repertoires--merely arbitrary shared sets of heavily prac-

ticed routines 2) cultures are selves---they demand respect, apology, they compete, feel shame 3) culture are high performances---routines we all mastered unconsciously as kids

the CULTURE MENTAL EXTENT (EXAGGERATION) phenomena:

1) cultures overlap--20% of more of X-ers are more Y than average Y-ers 2) some people are more X culture than others--a) number b) practice level c)

which routine d) sharedness extent/degree 3) cultures not uniform or static in space or time, and used/distorted for present

pruposes always 4) cultures powerful but shallow roots, easily undone and replaced

5) people attach PRIDE to own groups/cultures = like selves that refuse to grow up,BEING x instead of adult-ly HAVING x ~ cultures usually refuse to grow up, stayimmature, self loving, narcissistic, loving routines that do not work well butare never tested consciously with data.

the CULTURE EDUCATION-ADULTHOOD phenomena: 1) the own culture is easier BRIBE--we execute out own culture(S) effortlessly

expertly and unconsciously = IT IS ALWAYS EASIER to stay in our childhood waysthan to replace them with better adult ways

2) the child bigot in us all--our moms told us THE right way to A, to B, to C, she neverexplained alternative ways, or tested our ways with data to see if they workwell, so we group us ASSUMING UINCONSCIOUSLY our own ways must be best

for us--without exposure to any of thousands of alternative ways we havenever experience or imagined 3) the fake comparison hiding place of adults--later in life we emotionally irratio-

nally defend our ways as best by showing us and others how WELL our wayswork (BUT we compare well practiced versions of our own routines with barelylearned versions of alterna-tives, and we comparedroutines we share with allaround us, with routines wealone learn)

4) the possibility of adulthood atage 55--EDUCATION is undo-ing your Initial Factory Set-ting and replacing themwith better routines youconsciously choose from thebest in history and in thecontemporary world (col-lege is FOR this), EDUCA-TION leads you (a few) toseek adulthood by a 30 yearprocess, starting at aboutage 20, of replacing yourown routines with betterones consciously chosen, soby age 55 you are ADULT =

people cannot tell when and where you were born and raised by your atti-tudes, actions, or reactions to things.

the CULTURE GENDERED BRAIN phenomena: 1) culturesas NON-uniform as brains are--we have a SPECTRUM OF BRAIN TYPES we do not

share the same type of brain 2) cultures balance brain types serially or by mixes--lone male or female brains are inca-

pable of intelligent action: flaws handling risks 3) creative and productivity cultures FEMINIZE systems-- the femininity of productivity---

because all is male designed/run for eons 4) CULTURES SELF PURIFY TILL THEY DESTROY THEMSELVES--by sloughing misfits they

make themselves so uniform around “what works around here” that disaster happens whenoutside environment has major shifts--Cultures are INHERENTLY selfy destroying.

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10) PENETRATING CULTURES is an INSIGHT Process • WHAT CULTURES DO WE PENETRATE? our friend---is a culture we penetrate our the other gender--i s a culture we penetrate (Bollywood dances) our various job organizations are cultures we penetrate our profession is a culture we penetrate various devices, technologies are cultures we penetrate • WHAT ARE THE STEPS OF PENETRATING ANY CULTURE? 1) ALTERNATE engagement with detachent, exaggerated responses 2) APPLIED TO EVER MORE ABSTRACT dimensions of the culture 3) COLLECTING lots of failed tries to manipulate or adapt along the way 4) INDEXING those beloved failures till by inverse they specify what a solution will be 5) TILL SUDDENLY an insight appears that wonderfully reorganizes all that came before • IN THIS WAY PENETRATING CULTURES MAKES ONE CREATIVE 1) we practice the insight process with each culture we penetrate 2) we practice penetrating cultures with each insight we have while creating. • WHAT IS THE OPPOSITE OF PENETRATING CULTURES?----Touring them

1) being IN a culture means initiating things they invest money in 2) being IN a culture means doing things your way NOT theirs and winning 3) being IN a cuture eans doing things their way NOT yours and winning.

11) ANOTHER TEST ON UNDERSTANDING---Kulture Koans--trueor false & why

• THE DISNEY KULTURE KOAN Disney culture is a flight from World War II culture After WWII everyone was exhausted at danger, fear, life and death risk. Disney created a circus without injury, death, risk, and fear. People love Disney because it flees from reality and omits negation • THE AUTO KULTURE KOAN Toyota is Japanese management culture at work Nissan is Japanese management culture at work Toyota culture differs from Nissan culture Therefore, neither Toyota nor Nissan are Japanese management culture at work • THE INDUSTRY COMPETITIVE ADVANTAGE KULTURE KOAN

The consumer electronics industry of Japan became world best due Japanese culture love gadgets But most profits of Japan’s consumer electronic firms annually come from heater/coolers Heater/coolers are so profitable due to housing standards set by consumer electronics firms in mid-1950s for thin walls, little insulation, quickie windows. So superiority in consumer electronics in Japan comes from hidden subsidy via housing stan-

dards justified by fast postwar reconstruction but intended to subsize electronics firmswith automatic exagerated heater/cooler profits.

• THE FREEDOM TO KILL KULTURE KOAN Americans love freedom This came from their war of liberation from England


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BUT American warred on Ho Chi Min, Vietnam’s Geoge WashingtonSo American used to love freedom but now loves global financial power held in place bywars on tiny nations.

• THE JAPANESE TALENT FOR DISAGREEMENT KULTURE KOANJapanese are slow to reach agreement but when they agree they implement more andbetter than othersSo Sharp’s Zaurus personal digital assistant in 1992 had 100 buttons because Japanese andother consumer LIKED lots of buttons

BUT Palm took away most of Sharp Zaurus’s worldwide market share with a device having5 buttonsSimilarly the Flip camera for 2 years outsold all Japanese videocameras combined, basedon its 5 button interface

So Japanese have lots of buttons because engineers all agree that more buttons are popularwith consumers

BUT everyone complains about TV controllers with too many buttonsSo worldwide consumers LIKE lots of TV controllers each with lots of buttonsSO Japanese engineers are BAD at REACHING AGREEMENT HENCE too many buttons for 40years in many product categories.

• THE STAR TREK KULTURE KOANJapanese watch 1000s of hours of US TV; Americans watch ZERO hours of Japanese TV

My Japanese wife watched Captain Kirk on the first Star Trek--she saw Captain Kirk orderingeveryone around to do the obvious, as if leadership was commanding what people wouldnaturally do without urging---she developed deep hatred of US forms of fathering andbossing---BARBARIANS ALL, she concludedShe saw EUROPEANS in discussions suddenly absolutize what the other person said--thenstrongly disagree with their own absolutized version of the other---BARBARIAN LIARS sheconcluded.

The Chair and the Bicycle Demonstration of Culture Powersnd Effects---Test your Culture Discernment Ability Right

Now:• ONE: What is totally wrong about how every chair in the world is designed?• TWO: Change ordinary bicycle design 2 places to enable faster speed than any racing bike

(without using engines or things that make it no longer a bicycle)• THREE: What 371 MIT grads said about their education in engineering---why was actual

engineering work vastly more fun than MIT work and why did they do bad designs for theirfirst 20 years and good designs after age 40 or so?

------------------------------------------------------How can we think PROFESSIONALLY about culture matters?0 TOOLS of this course:• culture uses/culture definitions---how you define depends on how you use

COMMON ERROR--naively missing how people distort, avoid, twist their own cultures• culture operators/cu lture tools--what operations you apply to culture depends on tools

COMMON ERROR---not operating on cultures at all because male or anti-emotion or justuntrained (many cultures worship themselves as if eternal beings)

• culture traits/culture dimensions---they are the same but traits we want to CHANGECOMMON ERROR---naively thinking dimensions cannot be changed easily; forgetting thattwo kinds of work for culture change is required; PRACTICE NOT DOING old routines andPRACTICE DOING new routines replacing the old ones

• culture types/culture social processes---sets of traits are types but appear only in some SPCOMMON ERROR---culture traits appear SOME places in society/functions not others =X culture is not “individualist” everywhere, cultures are not uniformly enacted

• culture powers/high performances---FOUR AMOUNTS measure how HIGH the performance:how many routineshow well practiced

which routines shared with whom = the POWER built up by a culture, the culture’s POWER to enact, influence things COMMON ERROR---the power of culture comes from us ignoring it, culture settings are easily changed by practice NOT doing follow by practicing NEW DOINGS. We confuse the power of culture with it being hard to change---it IS powerful but NOT hard to change.

14) Cultures are just human Initial Factory Settings = we do notknow our own self contents

• THE OWN-CULTURE BRIBE--we are filled with routines already put in us, unconsciously, while growing up = it is always EFFORTLESS and AUTOMATIC to “do what comes naturally

rather than doing what works best (so we HIDE from ourselves that our ways are NOTalways or even often best)

SO MOST WORK IS DONE in the easiest ways not the best ways--when all agree that meansways are bad

• THE CHILD BIGOT--the test for PROFESSIONAL thinking about culture is easy---ask people if their own ways, foods, dress styles, nation is best? If they say YES they are the common

child bigot operating in a 40 or 60 year old body perhaps but mentally 12 years old • THE UN-TAUGHT UN-IMAGINED ALTERNATIVE WAYS--our moms told us the right way to tie

shoes, to greet strangers, and so forth---SHE NEVER EXPLAINED here we greet strangers X way but far south of us they greet strangers in a different way and 100 years ago we here used to greet strangers more slowly and formally and ..... Moms do not have time to explain ALTERNATIVE ways SO we all grow up thinking THERE IS ONE BEST WAY

and it is OURS---the child’s bigotry • THE DEFINITION OF ADULT--- 1) from what they say, believe, and do you cannot identify where they were born and raised 2) they are unique, having assembled routines from dozens of cultures and places--

they made themselves UNDOING being made by societies and teachers as kids. = ADULTHOOD STARTS AT AGE 55---not at age 20 as governments say.

15) How do we create new cultures or weaken/strengthen/change old ones?

• FIRST LEVEL---practice NOT doing old routines, practice NEW DOING of new routines • SECOND LEVEL--but many routines are emotive, deeply personal, pride-att ached so: THE DESPAIR DOORWAY---we only change such deep emotive pride-atta ched routines when we fail again and again, all that we ARE, fails, to get us our fondest goals---THEN, when in utter DESPAIR, a doorway opens---we LOSE self love enough to change deep parts of self • SO WE CHANGE CULTURES BY 1) putting ourselves in CRISIS 2) putting ourselves in intense events that FORCE us to get help from others in order to

succeed 3) joining new communities--BRIDGE COMMUNITIES---that foster PRACTICE in stopping our

old ways and starting our new wanted ways. = DESPAIR + CRISIS + FORCED DEPENDING ON OTHERS + BRIDGE

COMMUNITY MEMBERSHIP ------------------------------------------------------------------------------------------------------

16) From 8 to 48 to 64 to 192 Dimensions of ANY Culture • Hofstede built an extremely biased sample of 100,000 IBM employees in 40 nations 40

years go---lazy professors just re-used his 8 because simple (8 only) and he had a big N (they ignored how biased his sample was, sample bias is MUCH more powerful than

sample size effects) • Add four other dimension sets to get from 8 to 48 • Add Nizbett and Matsumoto’s 16 from University of Michigan to get to 64 • Add dozens of other replicated sets to get to 192 dimensions • MORE DIMENSIONS are better--if dimensions are too broad they offer no guide to action • MORE VARIETY OF DIMENSIONS is better--highlights more possible differences

A TRAIT OR DIMENSION = WHERE TO LOOK to spot differences YOU werenot raised to notice = YOUR UNKNOWN UNKNOWN

17) METHOD ONE: TRANSPLANTING X ACROSS CULTURES (The 2Matrix Method)

• the culture of origin---along 64 or 192 dimensions • the culture of target---along 64 or 1 dimensions • FOUR KEY TYPES OF INTERSECTIONS

1) helps in origin not in target---need extra supports to compensate for missing these 2) hinders in origin not in target---need to use extra ease/opportunity from these 3) helps in target not in origin---need to fully see and use these 4) hinders in target not in origin---need to fully see and counteract these

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18) METHOD TWO: UNIFY DIVERSE FRAMINGS OF EXPERIENCE X(The Stratified Responding Method)

• all in a group answer EACH of the below before moving to the next question 1) what did you notice 2) what segments (where things changed nature or direction) did you notice 3) what did you feel in each segment 4) what did that remind you of or call to your mind 5) what meaning did each segment have for you therefore 6) what framework inside you gave each segment THAT particular meaning 7) where in your life did that framework come from or get strong from 8) what are you more likely to notice, think, or do as a result of this event?

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METHOD THREE: SOLUTION CULTURE FOR PROBLEM CUL-TURES (The Reversal to New Way and Product of WorkMethod)

• assume that ALL aspects of who you or who a group/org is CAUSE the problem before you• describe (using 16 or 64 dimension s) the PROBLEM CULTURE’S traits• how does EACH trait contribute to or cause the problem situation• REVERSE each problem culture trait to specify a SOLUTION CULTURE• enact that SOLUTION CULTURE to create a new WAY of work and PRODUCT of work-----------------------------------------------------------------------------------------

METHOD FOUR: Understanding new Markets/CulturesDeeply Quickly via EXTREME PRODUCT EXTRAPOLATION

• go to a culture/mark et new to you• collect several ways--by touring, by asking, by interviews--Products or Services that are

long term successes HERE that would never fly or be unpopular or illegal where you comefrom

• organize your Extreme products by similar principles, answer the following questionsabout each below:a) what it is about this product that makes is profitable long term hereb) what is it about this product that makes it impossible to fly in your home area/marketc) what is it about this local market/culture that makes this product profitable long term?d) what does this product’s success tell you about the nature of people, consumption , and

markets here?• BUILD A MODEL of all that your collection of products/ services taught you about the nature

of this market/culture• INVENT a new product or service that fits all or as many of the attributes of this market

on your model as possible• TRANSLATE EACH MODE FEATURE INTO ABSTRACT DIMENSIONS OF CULTURE DIFFERENCE

GENERATE IT---from a model f 64 dimensions of all cultures-------------------------------------------------------

METHOD FIVE: SOCIAL PRO-CESS IMBALANCES what aspectsf society a group emphasizesnd encourages versus omits andhuns.

• plot on the 64 social processes the top 20 or50 major challenges, failings, or problems of the group

• circle the clumps where several itemscongregate in one or several nearby social

process boxes• name each clump showing what in THAT

social process generates the various items• redraw the entire 64 social process boxes

showing with LARGER boxes ones emphasizedand encourages and with SMALLER boxesones omitted or hindered

• FIND abstract dimensions of culture (from 64)that explain perhaps why some boxes are

smaller and others larger------------------------------------------------------

22) METHOD SIX: CREATING NEW CULTURES (The Bottom UpCascade from Social Automata thru Mass Workshop Events toCommunity Quality Cabarets)

• replace brainstorms with social design automata • replace classes/work-processes with mass workshop events (in which are many social design automata) • select several TYPES of mass workshop event and an AMOUNT per unit time of them

sufficient to change an old culture or create a new one via DESPAIR, CRISIS, FORCEDDEPENDENCE, and BRIDGE COMMUNITY

• OPTIMIZE the procedures of the automata and events so as to enact those 4 culturechangers.

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23) CASE ONE: The Culture of Devices and Users • AIM: predict sales, pricing, features of new versions = MAKE BIG MONEY • TWO MATRIX METHOD--the culture of developers versus the culture of the device the culture of the device versus the culture of users/mark ets • KEY--adapting dimensions of cultures as they get expressed in device attributes = Device AFFORDANCES---what does each feature of the device AFFORD entice users into

24) CASE TWO: Cultures in Systems Engineering • THE FIGHT between usual engineering speciality cultures and systems culture • THE FIGHT between genres (48) of systems culture • THE EROSION CULTURE OF TOOL USE--how use of tools drifts into disfocus , scattered aims till tools are understood so poorly and without focus that nothing good comes from the and they are replaced • THE FIGHT between faction and profession cultures and emergent (accidental or intended) PROJECT cultures • THE EROSION OF TOOLS BY ACADEMIA--i nstead of people with GREAT intent using or

inventing tools, people in schools are trained to expect tools to effortlessly do something

for them • T HE DELUSIONAL CULTURE OF ANALYSIS-SOLVES-ALL-THINGS--- fostered by academia, years of professors hiding the centrality of

social emotive skills and elementsin design outcomes

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25) CASE THREE: The Femi-ninity of Creativity & Pro-ductivity

• WHY do most improvements in workprocesses make systems more feminine? • IN CLASS EXERCISE--Desi gn a FEMI-NINE form of One Day Hotel Business Confer-ence • 32 differences between male andfemale brains and landscape of work, career,design

26) CASE FOUR: Cultures of Innovation

• culture of capitalism • culture of males • culture of tool use • culture of USA

• culture of monkey hierarchy • culture of technologies and vendors • culture of design • culture of users • culture of engineers • culture of MBAs • culture of big organizations -------------------------------------------------------------------------------------------------

27) CASE FIVE: Steve Jobs & Design Culture • How to build the world’s most valuable company---22 Jobs’ steps • Turn Jobs’ life into creativi ty operator sequence--9 operations • The Jobs management process--18 steps • Twelve DESIGN KOANS • Twelve CULTURES of excellent innovating • Nine New ways to organize knowledge

28) CASE SIX: Cultures of Business: of Self Congratulatory Lies,of Engagement, of Risk, of Investing, of High Performance, of the Ridiculously Great

• the culture of advertising--reverse the ad to get the bad stuff in the questionnaire the ad is to COUNTER • the culture of groups--Lies Lies Lies, We have never done wrong and are always great • of engagement- --someone worth following • of risk---requires safe base to risk FROM • of investment--Grondana’s 21 traits of cultures that develop • of high performance ---Vaill’s 64 good girl bad boy traits • of the ridiculously great--Jobs demanding excellence ----------------------------------------------------------------------------------------------

29) CASE SEVEN: Silicon Valley Stanford versus Route 128 MIT

(the former contributed 8 times more to global GDP than thelatter, from 1970 to today)

SILICON VALLEY CONTRIBUTED 8 TIMES MORE TO GLOBAL G.D.P.

The Losers The Winners

East West

Analogtech Digitaltech

Uptight Laidback

Bluesuits T-shirts

Stores Flows

Big Small

Few Many

Integrated Network

Secretive Open

Loyality Steal = good

Stability Outsource

Self-reliant Coalitions

design emergents

Hierarchy Multi-center

Centralized Margins and peripheries


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CASE EIGHT: Culture of Academia (TQM in USA, software inapan)

• SONY--two retired VPs say where it went wrong--hiri ng elite top university gradsWHY?

is that WHERE Sony went wrong? What is wrong about hiring those kinds of peo-ple?

• professors teaching how-to-do-X methods not how to teach yourself X methods • professors teaching emotionless techniques = students lack passion\emotion for

making good decisions hence designs = the flaw of pretending science in what is really a design art (managing, engineering, designing, inventing--not sciences but arts

but for status professors treat them as sciences (FROM brain researchshowing ready access to emotion is required to make design decisions, noemotion =s too little gets designed)

• professions and elites and high competence as THE primary hiding places in his-tory for great EVIL---Eichmann in Jerusalem (by Arendt), McNamara inVietnam, Harvard on Wall Street 2008

• gross obvious obtuse assimilation of Japanese ways to American ways, guttingout the social, team, long term, grounded cognition, concrete practicedimensions that threaten to change parts of America, leaving a husk thatthreatens NO changes and produces NO effects and improvements = forshow learning from abroad

• Harvard University Business School case studies---published gross distortions,making ALL benefits in business look like they come from------what PRO-FESSORS have and are: analysis, eliteness, abstractness, math models

• 14 BAD MENTAL HABITS YOU GET FROM COLLEGE THE NATURE OF COLLEGE = YOUR NATURE RIGHT NOW =

CONTEXT = MY START at world's hardest college, at MIT I had 55 pts above classaverage grades = MIT was too easy too out of date, Harvard much tooeasy, hidden EVIL = both too American CONCLUSION --

1) top colleges are too male = monkey hierarchy, status supplants thought toooften = they call maths hard but maths are kid stuff, not hard, people &minds are hard

2) every year beyond 2 at college makes you and me LESS creative = we learnexcuses & fitting in;

3) unbearable FOCUS builds the future: Gates, Jobs, Zuckerberg =Asperger's =no prep at univ. for venture intensity

4) lack of anything you LOVE enough to sacrifice ALL for it NOW = you will failto build = to be NOT harmful (= great) a college has to teach LOVE (of ideas & persons) and FRIENDSHIPS;

5) BECAUSE colleges have the wrong department structure = they and the waythey divide up & use knowledge are too OLD, too slow to CHANGE THERE-FORE your mind has the wrong knowledge structure = so you miss theNEW

6) professors unconsciously assimilate all deeds to what professors are good at,and unconsciously recruit you to be like them--BUT they are often not

great designers, builders, venturers, NOW

Knowledge PLUS motive = power, Knowledge without motive = delusion

7) schools & COLLEGE educated your brain not what makes you intelligent = yourextended mind, tools outside that make you smart: your personal library,files, network are un-educated= you are NOT smart though you are old-criteria smart

8) you have trained your brain badly by using ancient interfaces:= too bushy from prose, = too unstructured from usual meetings =

too altercative from usual discussions,= too narrow-biased-uncomprehen-sive-unimaginative from bushy web and prose pages, that is, a LACK of diverse comprehensive models

9) (from the MIT Caltech Stanford Harvard people I hired at Xerox): your cogni-tive list limit is too small: you apply mental operators to 6 to 8 ideas not50 to 150 at one time;

10) you are EXPERT at what schools teach: = sitting; obeying, remembering; notusing: not challenging; not creating, making trash (=homework); = YOUMUST CHANGE

11) your intelligence is your surface area (exposure to flows) not your storedvolume

12) people with more theories, more abstract ones, NOTICE MORE, act diversely,= live in a bigger world

13) Engineers & MBAs both lack social skill and emotion management = theydesign/make unsocial social web products that rapidly decay (facebooknow) = NEED social sciences + arts = FULL DESIGN

14) Procedural literacy not mere verbal literacy or media literacy =handlingpower, money, love, ambitions, loss, appetites, failure, emotion, rela-tionships

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31) CASE NINE: Culture of Professions (evil hiding behind eliteminds (Eichmann in Jerusalem, McNamara in Vietnam, Har-vard MBAs on Wall Street 2008)

• long training earns freedom from supervision (self managing) so stop learning• authority from expertise become with-holding info from clients keeping them dependent

• more need equals more profit so incentive to poorly serve clients • power from mere name and degree becomes incentive to abuse clients casually • mind becomes THE solution to all things, as belief-religion though never in fact • select clients who believe your profession’s religion (= abusable) slough thinkers • send clients you hurt or fail to other professions so YOUR data still look good • trust your models even when all the data shows disaster and failure = the number religion

that you learn in college • reject data comparing your ways-results to ways-results of other professionals = refusal of best practices • habit of total power WITHIN your knowledge realm becomes willful ignorance of AIMS and contexts around you and your profession--excellently maim or kill if asked, local skill is all • split into 2 kinds of professionals--those who select issues they can handle, those who learn

32) CASE TEN: Getting to Employee Engagement via ExecutiveEngagement--the Culture of Being There at Work, How Muchof a Person is ALLOWED at Work

• Western culture--you are a role at work, not a person = can hide from personal probs• Eastern culture--you are a person at work, not a profession = bare competence is the norm

• West--all things solved by expert thought East--all things solved by personal closeness • West--employees totally un-led = no directedness when measure for it • East--employees are well led = lots of directedness when measure for it • EXAMPLE--sales in Burroughs versus sales in Matsushita • Executives as info distributors versus executives as info hoarders • The idea of JIT management

--find the 64 basic functions of leadership --find how they are delivered at present --find alternative better ways to deliver them --measure types and amounts actually delivered by various means --choose means of delivery that achieve DIRECTEDNESS --------------------------------------------------------------------------------------------

33) ASSESSMENT TOOLS (A new cognitive performance cultureenables by new tools for greatgranularity, detail, coverage,drill up-and-down)

• 60 models of innovation and 60 models of creativity • 192 dimensions of any culture • 120 Silicon Valley venture dynamics • 180 flaws in thought • 256 system effects ------------------------------------------

34) TEST CASES FOR YOU andPRIOR STUDENTS OF THISCOURSE

• German apprentice system in South Caro-lina USA

• Toyota in Kentucky • Disney in France • LIncoln Electric in Europe • Palm’s 5 buttons defeat Sharp Zaurus’ 100

buttons (your TV today? Why Japandesigns too

many buttons? • iPod versus MP

part5--rtgreenes book of 50pg excerpts of his 24 books--5th 4bks--culture and effectivens

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