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A thin veneer of process

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Some time back I published a post arguing that much of the knowledge relating to organizational practices is tacit – i.e. it is impossible to capture in writing or speech. Consequently, best practices and standards that purportedly codify “best of breed” organizational practices are necessarily incomplete:  they do not (and cannot) detail how a practice should be internalised  and implemented in specific situations.

For a best practice to be successful, it has to be understood and moulded in a way that makes sense in the working culture and environment of the implementing organisation.  One might refer to this process   as “adaptation” or “customization”, but it is much more than   minor tweaking of a standard process or practice.  Tacit knowledge relates to the process of learning, or getting to know.  This necessarily differs from individual to individual, and can’t be picked up by reading best practice manuals.  Building tacit knowledge takes time and, therefore, so does the establishment of new organizational processes. Consequently, there is a lot of  individual on-the-job learning and tinkering  before a newly instituted procedure becomes an organizational practice.

This highlights a gap between how practices are implemented and how they actually work. All too often, an organisation will institute a project to implement a best practice – say a quality management methodology – and declare success as soon as the project is completed. Such a declaration is premature because the new practice is yet to take root in the organisation.   This common approach to best practice implementation does not allow enough time for the learning and dialogue that is so necessary for the establishment of an organizational practice. The practice  remains “a thin veneer of process” that peels off all too easily.

Yet,  despite the fact that it does not work,  the project-oriented approach remains popular. Why is this so? I believe this happens because decision-makers view the implementation of best practices as a purely technical problem –  practices are seen as procedures that can be grafted upon the organization without due regard to culture or context and environment or ethics.   When culture,  context and people  are considered as incidental,   practices are reduced to their mechanical (or bureaucratic) elements –  those that can be captured in documents, workflow diagrams and forms.  These elements are tangible so implementers can point to these as “proof” that the processes have been implemented.

Hence the manager who says:  “We have rolled out our new project management system and all users have undergone training.  The implementation of the new methodology has been completed. ”

Sorry, but it has just begun. Success – if it comes at all – will take a lot more time and effort.

So how should best practice implementations be approached?

It should be clear that a successful implementation cannot come from a cookbook approach that follows textbook or consultant “recipes.”  Rather, it involves the following:

  1. Extensive adaptation of techniques to suit the context and environment of the organisation.
  2. Involvement of the people who will work with and be affected the processes. This often goes under the banner of “buy-in”, but it is more than that: these people must have a say in what adaptations are made and how they are made. But even before they do that, they must be allowed to play with the process – to tinker – so that they can improve their understanding of its intent and working.
  3. An understanding that the process  is not cast in stone – that it must be modified as employees gain insights into how the process can be improved.

All these elements tie into the idea that practices and procedures involve tacit knowledge that sits in people’s heads.  The visible, or explicit, aspects – which are often mistaken for the practice – are but a thin veneer of process.

So, in conclusion, the technical implementation of a best practice is only the beginning – it is the start of the real work of internalizing the practice through learning required to sustain and support it.

Written by K

April 15, 2011 at 5:51 am

What is the make of that car? A tale about tacit knowledge

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My son’s fascination with cars started early: the first word he uttered wasn’t “Mama” or “Dada”, it was “Brrrm.”

His interest grew with him; one of the first games we played together as a family was “What’s the make of that car?” – where his mum or I would challenge him to identify the make of a car that had just overtaken us when we were out driving.  The first few times we’d have to tell him what a particular car was (he couldn’t read yet), but soon enough he had a pretty good database in his little head.  Exchanges like the following became pretty common:

“So what’s that one Rohan?”

“Mitsubishi Magna, Dad”

“Are you sure?”

“Yes, it is Mitsubishi,” he’d assert, affronted that I would dare question his ability to identify cars.

He was sometimes wrong about the model (and his mum would order me not to make an issue of it). More often than not, though, he’d be right. Neither his mum nor I are car enthusiasts, so we just assumed he figured it out from the logo and / or the letters inscribing the make on the boot.

Then one day we asked him to identify a car that was much too far away for him to be able to see letters or logos. Needless to say, he got it right…

Astounded, I asked, “Did you see the logo when the car passed us?”

“No Dad”

“How did you know then?”

“From the shapes, of course?”  As though it were the most obvious thing in the world.

“What shapes?” I was truly flummoxed.

“All cars have different shaped lights and bumpers and stuff.” To his credit, he refrained from saying, didn’t you know that.

“Ah, I see…”

But I didn’t really. Somehow Rohan had intuitively figured out that specific makes and models have unique tail-light, boot and bumper designs. He understood, or knew, car makes and models in a completely different way than we did – his knowledge of cars was qualitatively different from ours.

(I should make it clear that he picked up this particular skill because he enjoys learning about cars; he is, therefore, intrinsically motivated to learn about them. In most other areas his abilities are pretty much in line with kids his age)

Of course, the cognoscenti are well aware that cars can be identified by their appearance. I wasn’t, and neither was my dear wife. Those who know cars can identify the make (and even the model) from a mere glance.  Moreover, they can’t tell you exactly how they know, they just know – and more often than not they’re right.

This incident came back to me recently, as I was reading Michael Polanyi’s book, The Tacit Dimension, wherein  he explains his concept of tacit knowledge (which differs considerably from what it has come to mean in mainstream knowledge management).   The basic idea is that we know more than we can tell;  that  a significant part of our knowledge cannot be conveyed to others via speech or writing.  At times we  may catch a glimpse of it when the right questions are asked in the right context, but this almost always happens by accident rather than plan. We have to live with the fact that it is impossible for me to understand something you know in the same way that you do. You could explain it to me, I could even practice it under your guidance, but my understanding of it will never be the same as yours.

My point is this:  we do not and cannot fully comprehend how others understand and know things, except through fortuitous occurrences.  If this is true for a relatively simple matter like car makes and models, what implications does it have for more complex issues that organisations deal with everyday?  For example: can we really understand a best practice in the way that folks in the originating organisation do? More generally, are our present methods of capturing and sharing insights (aka Knowledge Management) effective?

Written by K

April 7, 2011 at 4:26 am

Metaphors we argue by

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Introduction

In our professional lives we often come across people who have opinions  that differ from ours. If our views matter to us, we may attempt to influence such people by presenting reasons why we think our positions are better than theirs.  In response they will do the same, and so we have an argument: a debate or a discussion involving differing points of view.  The point of disagreement could be just about anything –a design, a business decision or even a company dinner menu.  In this post I  explore the idea that the dictionary meanings of the word “argument” do  not tell the whole story about what an argument actually is. In their classic work on conceptual metaphors, George Lakoff and Mark Johnson show how metaphors  influence the way we view and understand human experiences (such as arguments).  Below, I look at a few metaphors for argument and discuss how they influence our attitudes  to the act of arguing.

Argument as war

In the very first chapter of their book, Lakoff and Johnson use the metaphor argument is war to illustrate how arguments are often viewed, practiced and experienced. Consider the following statements:

  1. He attacked my idea.
  2. I defended my position.
  3. He countered my argument.
  4. I won the argument.

These statements – and others similar to them – are often used to describe the experience of arguing. They highlight the essentially adversarial nature of debate in our society. Lakoff and Johnson suggest that this metaphor colours the way we think about and approach arguments. This makes sense – just think about the negative emotions and confrontational attitudes that people bring to meetings in which contentious matters are discussed.

However,  it doesn’t have to be that way. Consider the following metaphor…

Argument as art

In a  post on collaborative knowledge creation, I discussed how a specific kind of argument – design discussion – can be seen as a act of collaborative knowledge creation. Al Selvin uses the term knowledge art to refer to this form of argument.  As he sees it, knowledge art is a marriage of the two forms of discourse that make up the term. On the one hand, we have knowledge which, “… in an organizational setting, can be thought of as what is needed to perform work; the tacit and explicit concepts, relationships, and rules that allow us to know how to do what we do.” On the other, we have art which “… is concerned with heightened expression, metaphor, crafting, emotion, nuance, creativity, meaning, purpose, beauty, rhythm, timbre, tone, immediacy, and connection.”

Design discussions can be no less contentious than other arguments – in fact often they are even more so.   Nevertheless, if participants view the process as one of creation, then their emphasis is on working together to craft an aesthetically pleasing and functional design. They would then be less concerned about being right (or proving the other wrong) than about contributing what they know to make the design better. Of course, the right environment has to be in place for people to be able to work together (and that is another story in itself!), but the important point here is that there are non-adversarial metaphors for arguments, which can lead to productive rather than point-scoring debates.

Note that this metaphor does not just apply to design discussions.  Consider the following statements, which could be used in the context of any kind of argument:

  1. His words were well crafted.
  2. His ideas gave us a new perspective.
  3. He expressed his views clearly.

Among other things these statements emphasise that arguments can be conducted in a respectful and non-confrontational manner.

Argument as cooperation

One of the features of productive arguments is the way in which participants work together to make contributions that make a coherent whole. Consider the following statements:

  1. His contribution was important.
  2. His ideas complemented mine.
  3. The discussion helped us reach a shared understanding of the issue.
  4. The discussion helped us achieve a consensus.

Although this metaphor is almost the opposite of the “argument as war,” it is not hard to see that, given the right conditions and environment, arguments can actually work this way. But even if the conditions are not right, use of words that allude to cooperation can itself have a positive effect on how the argument is viewed by participants. In this sense the metaphor we use to describe the act of arguing actually influences the way we argue.

Argument as journey

This metaphor, also from Lakoff and Johnson, draws on the similarities between a journey and a debate. Consider the following statements:

  1. He outlined his arguments step-by-step.
  2. I didn’t know where he was going with that idea.
  3. We are going around in circles.

Use of the “argument as journey” metaphor, sets the tone for gradual elaboration / understanding of issues as the argument unfolds. The emphasis here is on progress, as in a journey. Note that this metaphor complements the “argument as art” and “argument as cooperation” metaphors – creating a work of art can be likened to a journey and cooperation can be viewed as a collective journey. These are examples of what Lakoff and Johnson call coherent metaphors.

Argument as quest

In my view, the “argument as quest” metaphor is perhaps a particularly useful one, especially for collaborative design discussions. Consider the following statements:

  1. We explored our options.
  2. We looked for the best approach.
  3. We examined our assumptions.

This metaphor, together with the  one that views argument as as a cooperative process, capture the essence of what collaborative design should be.

In summary

The most common metaphor for argument is the first one – argument as war. It is no surprise, then, that arguments are generally viewed in a negative way. To see that this is so, one only has to look up synonyms for the word – some of these are: disagreement, bickering, fighting, altercation etc. Positive synonyms are harder to come by – exchange was the best I could find, but even that has a negative connotation in this context (an exchange of words rather than ideas).

In their book, Lakoff and Johnson speculate what the metaphor argument as dance might entail. Here’s what they have to say:

Imagine a culture where argument is viewed as a dance, the participants are seen as performers, and the goal is to perform in a balanced and aesthetically pleasing way. In such a culture, people would view arguments differently, experience them differently, carry them out differently and talk about them differently.

They conclude that we may not even see what they are doing as “arguing.” They would simply have a different mode of discourse from our  adversarial one.

Lakoff and Johnson tell us that metaphors influence the way we conceptualise and structure our experiences, attitudes and actions.  In this post I have discussed how different metaphors for the term argument lead to different views of and attitudes toward the act of arguing.  Now, I’m no philosopher nor am I a linguist, but it seems reasonable to me that the metaphors people use when talking about the act of arguing tell us quite a bit about the attitudes will assume in deliberations.

In short: the metaphors we argue by matter because they influence the way we argue.

Written by K

March 22, 2011 at 10:17 pm