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Real-Time Collaboration, Serious Play and the Enterprise

Published October 26, 2009 by cgerrish

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With the advent of Windows 7 and the upgrades to the MS Office franchise, the talk is that there’ll be a big round of corporate upgrades. Many corporations are still running Windows XP, Internet Explorer 6.x and Office 2003 (or lower). Vista didn’t tempt them, but the good press for Windows 7 is supposed to do the trick. After all, they have to upgrade at some point, right?

If corporate America takes the plunge, one has to wonder if this will be the last upgrade cycle of this kind. The distribution and installation of software on to desktop and laptop computers is a messy business. Businesses require a very compelling reason to upgrade given the current model.

Google has put forward the model of the browser as operating system by working backwards from the Chrome browser to the Chrome OS. The integration of the Office Suite into the hardware starts in the cloud and moves to the local machine. When Microsoft tried a similar move in the other direction, the government stepped in.

Both Google and Microsoft have developed cloud-based Office Suite offerings moving from opposite directions. Looking down the road a bit, we can see that the next upgrade cycle will be “software + services” for Microsoft, and “services + software” for Google. The obvious motivation will be cloud-based software’s cost savings over the current model of distribution, installation, compatibility, upgrade and service of software installed on a local system. The sheer cost and pain of a firm-wide software upgrade is so frightening that most corporations defer it as long as possible. It’s entirely possible that some firms will skip the last installation and jump directly to the cloud.

Collaboration within the enterprise takes place via email, attached documents and shared network drives. The productivity software footprint defines the boundaries of the modes of collaboration. The big real-time innovation was the introduction of mobile push email via the Blackberry. This innovation reduced latency in the work process by detaching email from the desktop and allowing it to accompany a person wherever she might go. The introduction of Sharepoint and network-stored group editable documents is slowly seeping into the work process. But most corporate workers don’t know how to collaborate outside of the existing models of Microsoft’s Office products. Generally, this just an acceleration of the switch from production of hard copies to soft copies (typewriters to word processors). When confronted with Sharepoint, they view it as a new front-end to shared network drives, a different kind of filing cabinet.

Meanwhile in the so-called consumer space, Facebook, Twitter and a host of real-time social media services have radically reduced the latency of group communication and collaboration. In addition to text– photos, audio and video have begun to play an important role in this collaboration stream. For the most part the corporate computing environment has been left behind. This is due to two factors, the desire to maintain a certain kind of command and control of information construction and distribution within the walls of the corporation; and the desire of IT departments to avoid risk by maintaining a legacy architecture. The real-time productivity of the Blackberry has been working its way down from the top of organizations; but the tool set remains the word processor, powerpoint and excel. The only accelerant in the mix is faster mobile email of soft copies of documents.

Ray Ozzie discusses the “3 screens and a cloud” model as the pattern for the development of human-computer interactions across both the consumer and enterprise computing spaces. The missing element from this model is the input device, screens are no longer simply an interface for reading. Bits are moving in both directions, and email is being de-centered as the primary message carrier.

As we look at innovations like Yammer and Google Wave, the question becomes how will the corporate worker learn how to collaborate in real time? Accelerating network-stored documents and their transmittal via email moves the current model to near maximum efficiency. Further productivity gains will need to expand and change the model. Generally these kinds of innovations enter through the back door, or through a skunk works project, within small autonomous teams. But at some point, the bottom up innovation needs top down acceptance and support.

Luke Hohman of Enthiosys works with the concept of serious games in the management and development of software products. The collaboration processes he describes in his presentation to BayCHI may be the foundation for real-time collaboration throughout the enterprise.

The lessons that we can take from Twitter and Facebook are that the leap to real-time collaboration is not one that requires a 4-year college degree and specialized training. It’s not an elite mode of interaction that needs to work its way down from the executive leadership team. It’s an increasingly ordinary mode of interaction that simply needs to be unleashed within the enterprise. But for that to happen, the enterprise will need to learn how to incorporate self-organizing activity. (Oh, and let employees use the video camera and microphone built in to their hardware) This will be a difficult move because the very foundation of the corporation itself is the creation and optimization of managed hierarchical organizational structures. It’s only when the activity of serious play can be reconciled with return on investment that the enterprise will come to terms with real-time collaboration.

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Fragments to Multitask by…

Published October 13, 2009 by cgerrish

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Some short fragments on the idea of multitasking. In the frame of the task, the thing to be done owns the attention of the doer. The doer’s attention is released when the task is done. The idea of multitasking is to engage with a portfolio of tasks, rapidly switching attention among tasks, or initiating actions that affect more than one task. The critique of multitasking states that the energy expended on switching and re-engaging among tasks lowers overall productivity. The comparative case is a set of tasks done sequentially with a singular focus. The design of the comparison begs the question about the value of what is learned in process. If the strategy, goal and tasks are static and nothing learned in process will change them, then there may be an optimal sequence to complete tasks. On the other hand, if the information released through engagement with the portfolio of tasks dynamically affects strategy and goals, then the early uncovering of both known and unknown unknowns provides better overall visibility. However, generally, in a corporate setting, strategy and goals are not responsive to the task. The pecking order doesn’t allow information transfer in that direction, especially with top down management styles that neutralize the bottom-up approach by championing it.

The other frame in which multitasking finds itself is in the behavior of rapid switching among electronic media inputs. The critique here is that our attention spans have been shortened and by virtue of the new media environment. Reading a long novel, or some other activity, that requires sustained attention over a long period is thought to be on the way out. We’re only interested in the highlights.

The operational assumption is that consumption of narratives is a process in which an individual starts at the beginning, goes to the end and then stops. Deviation from that model provides evidence of dysfunction, an inability to concentrate attention. Empirical observations show individuals engaging for short bursts and then moving on to the next thing. The short engagement is thought to be a response to the flood of information. Nothing can be fully engaged, so everything is engaged at its most shallow, in a summary form. The depth of the narrative product is untouched. Imagine a person ordering 12 completely different dinners and only having a taste of each course. The equivalent of 1 dinner is consumed, and 11 dinners wasted.

It was in listening to a recording of Tyler Cowen in conversation with Russ Roberts that the bit was flipped for me. By simply looking from the reverse angle, the pieces fall into place. The narrative is also on the side of the individual. Cowen posits that individuals have long running narratives for which they collect fragments of information. Perhaps you’re a fan of a baseball team, a particular musician or a kind of dog. The ocean of information and the multiplication of sources is a welcome addition to the environment. Tracking a favorite musician through the ocean of information on the Network creates an efficient filter. Tracking other people who track this musician creates a  micro-community of interest and extends the reach and focus of an individual.

What looks like multitasking turns out to be a single task executed across multiple media sources. What might look like a lack of focus and a short attention span is simply a relentless filter throwing out fragments that don’t enhance the internal narrative. The new media environment affords the possibility, and significantly reduces the cost of, productive research. The connections formed among these diverse sources loop back into the Network as a new node in a virtuous circle.

In an environment of scarcity, narratives might be savored— the story eagerly consumed from the ‘once upon a time’ to the ‘they lived happily every after.’ In an environment of abundance, the rare narrative is the one you’re building for yourself. The one built from the abundance of material uncovered through the Network.

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Liner Notes For The Gillmor Gang: Dynamic from Both Sides of the Glass

Published October 4, 2009 by cgerrish

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At the outset the frame of defacement is fitted for the conversation. Google’s SideWiki opens the door to an exploration of free speech, owned speech, unadulterated speech, graffiti, the Network as place and home, and what it is to write and read. Of course, the conversation isn’t really about SideWiki at all. Let’s start our exploration with writing.

A text is always already situated within a network of intertextuality. While we think we “have our say,” we assemble our sentences from an ocean of influences and predecessors. The connections stretch out back into history and as it tumbles out, our writing becomes fodder for the next person with something to say. Our writing and speech are never solely ours. The difference is that within the Network, the connections can be made visible. SideWiki, Disqus and Echo all aggregate and surface textual connections. Just as I might cut two related stories from two different newspapers and put them in a single manila folder.

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The aggregated view exposes the edges of each piece—it’s that juxtaposition that activates the points of contention, the volatile elements of meaning, the interesting bits. To some extent, this is what we do when incorporate citations or quotations into our writing. We expose the fragmentary edges of a text to our commentary.

We like to talk about a two-way web, or a read/write web— but we still conceive of this as a half-duplex transmission. The revolution seems to be in the ever broader distribution of writing. We’ve yet to understand a full-duplex read/write— a writing that is also reading; and a reading that is also writing. The same pencil both writes and reads. McLuhan talked about this transition in terms of the old media becoming the content of the new media.

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The act of reading is re-writing. The text is torn, ruptured and cut to make room for the commentary, associations, orthogonal meanderings, debate, and dialogue. Reading is always already all this. Writing itself could be called a form of close reading. Sometimes there’s ink in the pen, other times we let the thoughts fade away. We even employ Tmesis to insert our commentary into the middle of a word, for example: I abso-bloody-lutely have the right look at your website using Google’s SideWiki.

Roland Barthes describes how we read to create a more pleasurable engagement with the text in his short book: ‘The Pleasure of the Text:’

…we do not read everything with the same intensity of reading; a rhythm is established, casual, unconcerned with the integrity of the text; our very avidity for knowledge impels us to skim or to skip certain passages (anticipated as “boring”) in order to get more quickly to the warmer parts of the anecdote (which are always its articulations: whatever furthers the solution of the riddle, descriptions, explanations, analyses, conversations; doing so, we resemble a spectator in a nightclub who climbs onto the stage and speeds up the dancer’s striptease, tearing off her clothing, but in the same order, that is: on the one hand respecting and on the other hastening episodes of the ritual (like a priest gulping down his Mass). Tmesis, source or figure of pleasure, here confronts two prosaic edges with one another; it sets what is useful to a knowledge of the secret against what is useless to such knowledge; tmesis is a seam or flaw resulting from a simple principle of functionality; it does not occur at the level of the structure of languages but only a the moment of their consumption; the author cannot predict tmesis: he cannot choose to write what will not be read. And yet, it is the very rhythm of what is read and what is not read that creates the pleasure of the great narratives: has anyone ever read Proust, Balzac, War and Peace, word for word? (Proust’s good fortune: from one reading to the next, we never skip the same passages.)

The question of reading as re-writing reaches its pinnacle with the transition from quotation to the practice of superimposition. For instance, imagine a program that alters the contents of a browser through adding new layers based on a personal context— I remix on the fly, in real time. Perhaps for every image of Robert Scoble that loads into my browser, a mustache layer is added to the appropriate spot in the image. If I found this to be a valuable or amusing way to consume the web— I have every right to do so. We saw something like this with the recent Kanye West site rewriting. A very amusing way to view the web. The Medium is the Remix:

The Network is becoming dynamic from both sides of the glass. Web servers connected to data stores created the possibility of dynamic pages at the server level. When combined with AJAX techniques, the dynamic set of pages becomes a viewport into which various dynamic data resources are called. A form of personalization can be created from the server’s data store based on the assignment of a unique identity to the user. But as far as this stack of techniques has come from the flat HTML page, it’s still a server-centric stack of technologies and techniques. It’s dynamic from the server’s side of the glass.

It’s here that the actual topic of discussion begins to emerge: the possibility of a dynamism from the user’s side of the glass. Perhaps we begin by painting mustaches on Robert Scoble, but we quickly move to the creation of a personal context that superimposes our purposes on to the web that passes through the browser viewport.

The technologies that make a dynamic web possible from the user’s side of the glass are already well under way. The Firefox greasemonkey plugin exposed the potential of reading/writing browser viewport content. The information card, the selector, KNS and the action card make up the foundational elements of a new ecosystem for the user’s side of the glass. Here’s Craig Burton:

Web augmentation is an incredible phenomenon that we are just beginning to understand and use. There is a spectrum of tools available to accomplish various levels of augmentation. I only talk about two of those here. Greasemonkey and Action Cards.

I stand by my position that Action Card web augmentation changes everything. And that greasemonkey—at its most lofty view—is a mere harbinger of the real thing. Greasemonkey lets you do basic web augmentation with lots of potential problems and drawbacks.

Action Cards—the combination of the selector-based information card, KNS, and cloud-based data is elegant, well thought out, and well architected capable of making long lasting significant changes to the Internet.

Phil Windley provides the example of looking at Amazon.com search results with a superimposition of an indicator telling the user whether a particular book is available at a local library. The personal context might be: whatever I’m looking at, when a book is mentioned, let me know if it’s available at my local library. I might be entitled to discounts based on membership in an organization or club. That context could be made visible when I shop online. The potential for the mobile web is even greater.

The value of dynamism from both the client and server side on the image in the browser’s viewport has yet to be fully understood or imagined. We barely have the language to talk about it. The October 1st Gillmor Gang attempts to start a discussion about users writing to the browser from the client’s side of the glass.

We end, perhaps, where we began, with Windley’s Bill of Rights:

I claim the right to mash-up, remix, annotate, augment, and otherwise modify Web content for my purposes in my browser using any tool I choose and I extend to everyone else that same privilege.

Of course, rights are one thing and capability entirely another. That object floating in the glass between the server and the client is about to become an entirely new kind of collaboration.

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Tracing The Arc of The Beatles

Published September 11, 2009 by cgerrish

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In Beckett’s Endgame, the character Hamm says: “The end is in the beginning, and yet you go on.” The beginning, however always seems to emerge from the middle. The release of the remastered Beatles Catalog has caused me to replay memories of listening to their music as it was originally released. And as I listen to the new releases (at this point, I only have Rubber Soul), the music isn’t heard directly, but through the lens of the intervening years. The music travels backwards and forwards through time connecting to a thousand threads, its sound resonant with reverie.

From this distance, I see the arc of the band beginning with Rubber Soul, continuing with Revolver and ending with Sgt. Pepper’s Lonely Hearts Club Band. The time period spans 1965 to 1967. Of course, they performed and recorded before and after those dates, but this is the period where they seemed to really come into their own. The times were tumultuous, culture and technology were changing rapidly and the Beatles provided much of the soundtrack. The distance from Rubber Soul to Sgt. Pepper seems like it could only be measured in light years.

In the film Help, they presented an image of what it was like to be in a successful rock and roll band. The lads were friends and collaborators, they lived together, worked together, and enjoyed each other’s company. They serve as an extended family to each other; they inhabit a world without parents, wives or children. On Rubber Soul, you can begin to hear each member of the band start out on a path that will ultimately end in a parting of ways. I’m going to focus on the work of John Lennon and George Harrison. (You can do this same exercise for Paul and Ringo). By this time, they’d met Dylan, psychedelia was emerging and the idea of a rock band as a social unit was beginning to feel a little hokey. The band’s popularity had started to cut them off from both the world and their identity as performing musicians.

John Lennon had a tragic relationship with his mother, and it colored his relationship with women all his life. The line I’d like to trace here is from the song “Run For Your Life” with it’s violent lyrics about jealously and fidelity to a later, solo effort, called “Jealous Guy.” The movement within Lennon reflected the movement and growth of our culture. A similar arc can be traced from the song “Girl” to the song “Woman.”

The idealized relationship of the band as a kind of endless post-adolescence was beginning break up, as each of the members had to struggle with their own inner demons and find an individual path (the path to adulthood).

George Harrison’s contribution to Rubber Soul was a song called “Think For Yourself.” In the lyrics of this song you can see the seeds of Harrison’s future direction:

Although your mind’s opaque
Try thinking more if just for your own sake
The future still looks good
And you’ve got time to rectify all the things that you should

One can trace an arc from that song to Harrison’s solo work, specifically songs like “Isn’t it a Pity” and “Beware of Darkness.”

Watch out now, take care
Beware of soft shoe shufflers
Dancing down the sidewalks
As each unconscious sufferer
Wanders aimlessly
Beware of maya

As with the beginning, the end, too, emerges from the middle. The Sgt. Pepper album marked the end of the Beatles as a performing group and the beginning a new era of recording artistry. The asynchronous process of recording the album put additional stress on their unit cohesion. Ringo remembers those recording sessions as the time when he learned to play chess. The recording studio had become the dominant instrument, and the producer’s role central to the creative process. The resulting album marked the pinnacle of their success.

Around this time in Woodstock, New York, Bob Dylan’s backing band was creating an album that would be known as Music from Big Pink. It was the polar opposite of Sgt. Pepper. The group would eventually be called “The Band,” and they presented a new idea of what it meant to be in a performing rock and roll band. Their sound was firmly, and visibly, rooted in the sounds of American country music, early rock and roll and the Stax/Motown sound. After Sgt. Pepper, each member of the Beatles tried to move the group back toward being a performing unit. But the music was now Paul with a backing band, John with a backing band and so on. The Beatles were over.

The release of the remastered Beatles catalog provides an opportunity to really listen to the music, and the quality of the sound they created. I’m retracing my footsteps, starting with Rubber Soul. It may take 20 or 30 listens for me to truly hear it. Then I’ll move on to Revolver, and finally to Sgt. Pepper. Over 36 months, The Beatles’ music changed radically, it traces an unexpected and expansive route. As they used to say, “it blows my mind.”

I paid less attention to the work George Harrison the first time around. Over the years, I’ve grown to appreciate him more and more. One of the things that brought me back around to Harrison was this cover of his song Isn’t it a Pity by the Cowboy Junkies:

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