Category: Systems Thinking

2015/04/03

The Iceberg

20160113 Addendum – Have been doing a LOT more drawing and thinking re: iceberg since i first wrote up this post. Have shifted to think of water (oceans) as a natural key source, above that containers we humans form, and within those, the experience of icebergs. I suppose source would weave through all, including sky, at the very tip. That would make sense. Anyway – here is a drawing from late 2015 that tries to picture it. Originally ~16′, dry erase. Laid over, also, is thinking from Senge & Scharmer re: Mind/Matter split and reintegration.

The iceberg model, used in system dynamics, is a base note to our scribing practice. To diagnose a room and reveal where sense-making of the spoken word is most needed, we can refer to these tiers: Events, Patterns of Behaviors, Structure, Mental Models, and Vision. With this framework, we surface leverage points where the system – and the scribe – can place attention to facilitate desired outcomes.

My very first step when working with an organization – of ANY scale – is to figure out where the person, panel, team, or whole group is coming from, what they are aiming to achieve, and how i might intentionally scribe to facilitate within their comfort zone and also stretch it, if possible/helpful. (See also: 4 Levels of Scribing) Usually i go one tier deeper: if they are functioning at a behavioral level, for example, i will scribe to try to reveal the structures. If that expands the boundaries of the conversation, i will tune into the mental models in play, dancing down the iceberg to create results we want all to see.

Here is a breakdown, as applied to visual practice, and clearly this is highly interpretive. (A zillion interpretations of the Iceberg are out there. Search on Peter Senge or Daniel Kim to get a feel for the origins of this thinking.)

Events

Events are like data, actual occurrences that we see, above the metaphoric waterline, like noticing a lone bird flying. In the spoken word, i think of events as individual notes – words or phrases, single statements, stand-alone ideas, comments, parts. These combine to tell stories and can be most readily represented through illustration and more literal pictures, combined with words. An example might be something like this, representing human migration:

Patterns of Behavior

Patterns convey parts moving within structures. A flock is a formation based on a need, for example, to migrate with weather. Adapted from Kevin Kelly, Out of Control, Chapter 2: “Hive Mind”:

“A bird on the fly, however, has no overarching concept of the shape of its flock. “Flockness” emerges from creatures completely oblivious of their collective shape, size, or alignment. A flocking bird is blind to the grace and cohesiveness of a flock in flight…. In the 17th century, an anonymous poet wrote: ‘…and the thousands of fishes moved as a huge beast, piercing the water. They appeared united, inexorably bound to a common fate. How comes this unity?’… A flock is not a big bird. Writes the science reporter James Gleick, ‘….High-speed film [of flocks turning to avoid predators] reveals that the turning motion travels through the flock as a wave, passing from bird to bird in the space of about one-seventieth of a second. That is far less than the bird’s reaction time.’ The flock is more than the sum of the birds.”

We can look for flock-like behavior in patterns of speech too. This occurs when one idea or person follow another, for example: “We live on 1 planet Earth, but our footprint on average is 1.5.” And then: “This will lead to turmoil and chaos, and eventually human migration.” – John Sterman (whose talk on Systems Thinking and Sustainability is the source of all these images…) The words come out with causal relation, and one concept FITS with another to form a gesture or new shape of it’s own, only a pattern because of grouping.

Structure

Structure shows how pieces of the picture form and relate. This is the land of dance, where every part of the picture holds together in a natural coherence. Connections surface across gaps, and it’s our place to organize them into an order that we perceive. We don’t look for one bird; we look for two, for three, four, forty birds and then inquire into what holds them together. Are they a couple? Siblings? Friends? Of different flocks? Adversaries? Do they face each other, turn away? Join? Avoid? Does one communicate to another bird on another branch? In another tree? What are the conditions of the tree? Protected? Exposed?

All these aspects (and many more) are components of the structure INSIDE a story, dialogue, conference theme, multi-year project. Every piece has context. Find it. Draw what is relevant to surface the inherent structure, or relationship of the parts, that wants to be revealed.

Mental Models

This is the domain of thinking and beliefs, “deeply held theories about how the world works” – Daniel Kim. This might be a more subtle territory, not at all explicit, where a deeper, almost non-verbal, listening is required to understand where people are coming from. In the iceberg drawing above, I drew an egg and a bird to represent the age-old question of “Which comes first?” that challenges our idea of where life begins.

If we take the scribed sustainability image as an example, the ENTIRE picture represents a mental model that the current climate change crisis is induced/amplified by human behavior. Some people think otherwise! But knowing (and sharing) the belief of Prof Sterman, my own mental model was very aligned with the presentation. I have also been in situations where my mental model entirely clashed with that of the presenter. Without going into detail, it required much suspension in order to be open to what ideas were being shared that i wanted to accurately represent.

This territory is fine and subtle; the beliefs are in the room and they are in us. As scribes, we are there to help represent the room, and resist layering in our own theories. That said, it is possible to help reveal biases in order to activate reflection, and, perhaps, shift mindsets.

Vision

This is the deeper territory of aspiration, hope, calling, that which can set the tone for all else pushing upward through the iceberg. I see this less as a space for projection of vision, where an aim might be set to be reached or strived for, and more as a domain of possibility, into which a scribe can sense, and then hold in spirit (even without drawing!) to really join the system as it’s future self, and share the intent for the vision to come to form through the thinking and action of the people.

Usually i leave a 1/3 to 1/4 of surface real estate for vision – it always comes, never fail. Even if faint, listen, trust in it, and you will hear it’s tune.

References: Peter Senge, John Sterman

2015/03/09

Visual Practices

Because folks often ask for ways to develop their scribing practice, and because the field of graphic facilitation seems RIPE for learning, i’m taking a turn to share some suggested processes in a do-it-yourself kind of way. These can be self-guided, in solo or group contexts, and mainly offer ways to explore an intersection of why, how, and what. The when & where, that’s up to you! Hope this is useful. Feedback very welcome. More to come as i refine chicken scratch workshop notes…

All Visual Practices below relate to A Practice Model for Scribing as a primary framework, and of course relate to each other.

Being: Identifying Presence
Click here for .pdf download – Group process, 30-40 minutes

5	Personal Story: Guide	Share an experience accessing your “presence” to get through a challenging situation. Explain: What was difficult? What were you called to do? What did you access internally to find the necessary resource and navigation? How did you feel throughout the experience? What did activating your presence enable?
5	The “Zone”	Explore why presence matters in a systemic context. Refer to post: Presence and the Reciprocal Zone.
10	Personal Story: Learner	Suggest people get comfortable in their seats and close their eyes.“Notice your feet firmly planted on the ground, your torso straight, your head reaching the sky. Breathe in and out, and settle into your body and the moment. Recall an experience where you felt most alive and connected with the world and put yourself back in that picture. What was the scene – what does it look like, smell like, what is the temperature, what colors are around you, what textures? How do you feel? Where is that experience located in your body, if at all? Considering this scene, imagine your sense of awareness increasing. What are you noticing as you take in all that is around you and become one with this time and place? When you are ready, slowly come back to the current moment and open your eyes.” Take a few minutes to write about this experience in your journal. Then turn to a neighbor and each share your story while your partner listens.
5	Practice	Now at a board or with a page of paper, take a minute to get centered again. Recall your scene, get rooted, connect to the room (and system at large) and breathe. Notice when you are in a zone and not, without judgment. This practice is less about what your drawing will look like and more about your quality of being as you hold the pen, approach the blank surface, and let content come through your hand while you draw. In this video, we have someone connecting profoundly with the earth, which is how he feels most alive. Listen to his story without over-thinking it, take it all in, be completely present in a field of awareness for yourself and for him, attend to your state of being, identify what wants to be named, and with that knowledge, draw. Native Perspective on Sustainability – www.nativeperspectives.net
5	Reflect	As a whole group, gather and reflect on the experience (before spending time looking at any drawings.) Possible questions to ask: What did you hear? What was this man describing? How might it relate to scribing? Were you able to find access your presence? Were you distracted, and by what? Where might you find windows of opportunity to deepen your presence in relation to your practice?

2015/03/04

Presence and the Reciprocal Zone

When we scribe, on the best of days, we connect with a zone. I call it a reciprocal zone, because it’s not only about how we relate to a certain sense of flow that might come through the air, like fine magical mist to our senses, that we relate to as an individual – but it is also about a web of connection we find ourselves in, inescapably, with our minds, hearts, hands, our drawing surface, our markers, with the people behind us and around us, with the parameter of the room, with the system known to be represented by what’s inside the walls, sometimes with the system at large. All points of connection manifest into a series of positive reinforcing loops, where the insight of one touches the insight of another. While drawing, we know, we sense, this activation – on the best of days.

We are a micro-system that represents a macro-system, and the quality of being we bring to the moment when we face a blank page or wall – that quality ripples out into the mist, reinforcing the enchantment of the surround. This is not to say we are magicians that weave some sort of spell – absolutely not. We are bystanders, and then active participants, WITH the activity of the room and the system, that functions as a path for something ELSE to come into existence and light.

We are not channels or mediums. We are artists. We connect to an inner place of wonder, and thus we are open to recognizing the spirit of wonder in the world around us.

Our presence, our quality of being, allows us to show up for a group at any phase of their process, holding a space of possibility for what might emerge. Part of locating our presence has to do with suspending our thoughts and habits of judgment, letting go of the past and also of the projections of the future, so we can be completely in the moment and show up to join a group where they are and co-create.

To explore presence is to learn another language that is not literal, but IS internal and very much embodied, if initially faintly seen or heard. We might ask ourselves: What is the barrier, the frontier, between fear and fluency? How do we feel differently when we are fluent? When we are in a position to express, what language do we choose to let sing?

This piece of the practice is not about the aesthetics. This is the intangible dimension, where we are in touch with ourselves at the most true level and in a position to let that truth meet the truth in the room THROUGH what we draw.

It is an honorable and breathtaking thing to sense, the flow, the presence of many. To work in that place, to help shape it, to give form to the unexpressed – THAT is the magic. It is a magic of the reciprocal zone that our presence merely meets.

2015/02/09

A Model of Practice

The Practice Model for Scribing results from 20 years of collaborative efforts and framework integration, with many dear colleagues along the way. Here is a breakdown. And for a walkthrough of the theory in practice, visit: Decoding a Wall

The Iceberg

The iceberg model, used in systems thinking, is the base note. We are familiar with seeing events, actions, and behaviors – like the exposed tip of an iceberg. But the domain we access internally as facilitators and aim to touch with our graphics is at the level of structure – that less seen, in the domain of patterns and mental models and vision. We seek to find relation between pockets of words and concepts and aspirations to intentionally reveal where there is open loop (linear, sequential, start-to-end) and closed loop (systems, integrated, interrelated) thinking.

In graphic facilitation, this requires venturing beyond the known – the tip of the iceberg – and moving into a realm of trust and sensing, listening internally and within the room to what is wanting to surface. With this in mind, the facilitator has an opportunity to recontextualize what is being said to shift levels of perception and comprehension.

More: Iceberg model
References: Peter Senge, John Sterman, Leanne Grillo, indirectly Daniel Kim

The Diamond

As a scribe, the practices of joining (including listening), knowing, perceiving, and our stance of being ALL function together to ground and orient us in a decision-making process before and while we draw. This framework has tiers of related thinking, including: dialogic principles, Jungian archetypes, ShadowWork, family systems therapy, and The Symbols Way. All speak to the nature of a whole systems approach to change, where the art of the facilitator is to dance between the domains – in ourselves and the way they outwardly manifest – to help an individual or group shift into a possibility.

References: William Isaacs, Peter Garrett, The Ashland Institute, Cliff Barry, David Kantor, indirectly David Bohm

This area at center speaks to the inner stance we hold when showing up: with a person, in a room, at the board or wall. (Referring to Scharmer’s work) We seek to suspend judgment, quiet cynicism, move through fear, so that one can approach the work with an open mind, heart, and will – insuring space to receive what wants to come through into the room. This is the place where Presencing most intersects our practice, at the center of the scribe, at core, and thus as a centering device in the room and system. This relates to the container, and overall holding capacity of a scribe.

More: Attending – Containers – A practice for Identifying Presence – Trust

Reference: Otto Scharmer, Barbara Cecil

Join

For me, joining – including deep listening – is a tap root of this entire visual practice. Without joining, we are isolated in our own ideas and limited in our potential to see. Forget about being able to draw anything! We listen to connect, experience the entire context in which we exist, feel, and activate the heart. It is our intake, all our sensory valves on “open”. We receive. This maps to 4 Levels of Scribing – where at Level 1 (tip of the iceberg) someone says bird and we draw a bird, and at Levels 2, 3 & 4 we process internally to sense into the essence of what is wanting to be seen and draw from that other-informed place (bottom of the iceberg.)

More: Levels of Scribing (Listening)

References: Beth Jandernoa, Peri Chickering, Otto Scharmer

Perceive

It’s been challenging to articulate this part of the model, and I keep coming back to art, the making or art, the viewing and interpreting of art, the required multi-faceted approach to any refined process of seeing. It’s got something to do with the ability to turn in all directions and use a range of lenses for our filtering and framing capacity. It’s seeing with a suspended eye and open mind.

More: Ladder of Inference – Fear and Seeing

References: Eleanore Mikus, Matthew Bird, Rob Licht, Norman Daly, and indirectly Josef Albers, Wassily Kandinsky, Paul Klee

Know

The domain of choice-making, clarity, and essence, where Open Will enters. I access a model from Dialogos here: Bypass-Name-Engage-Transform. Bypass: In the service tracking with the flow of conversation, you move over topics that might be confusing or might not yet seem to fit in the picture. Name: Bring attention to content by naming it, without judging or evaluating. You don’t have to elaborate at this point. It might feel like you should capture everything, but you don’t! Maybe the content is not yet all out in the air, and is still emerging, therefore only ready to be noted. Engage: Enter the dynamic to further surface patterns, to deepen the inquiry, and to expand the container. Transform: Make facilitative container-building moves to shift the dynamic, even if you are on the side of the room, silent.

More: Bypass-Name-Engage-Transform

References: Glennifer Gillespie, Robert Hanig, Dorian Baroni

Draw

Well, this is what it looks like. This is the visible, tip of the iceberg. This is the tangible result of everything we take in, process, interpret coming out through the hand.

Lettering: The basic way of explaining or annotating an idea. Check out masters Alicia Bramlett and Sita Magnuson
Illustration: Incredibly powerful to bring a metaphor or story or anecdote to life. Here is where simple bean people can go a long way. And here is where there is some serious talent out there. See Peter Durand, Christopher Fuller, and Mike Fleisch
Storytelling: Realized the power of this through Anthony Weeks and Liisa Sorsa, at 2015 IFVP conference. Never thought of our work with this language – but it sure is! More Here
Mind-mapping: Perhaps the most familiar part of the practice, depending on a strong ability to recognize patterns and organize threads.
Modeling: Conveying spatial dynamics of parts of a whole through shapes and lines. Bryan Coffman was my mentor here. An old reference point, but a timelessly valuable one: MG Taylor Modeling Language where we can see examples of drawn and conceptual models, both – useful for ALL parts of the Practice Model.
System mapping: Showing the interconnectedness of things – including system dynamics – visually, while attuning with this filter to reveal the system of the content coming into a room. It’s about drawing out the systems, literally and figuratively. See Decoding a Wall for insights on this concept.

Additional References: The Value Web, MG Taylor, and indirectly David Sibbet

Haga clic aquí para ver este blog en español, gracias a Zulma Patarroyo!

2015/01/11

Attending

Attend. Grow the sphere of attention. Expand the outer skin of the whole. Tune IN. Awake.

…form follows attention or consciousness. We can change reality by changing the inner place from which we operate.” – Otto Scharmer, Leading from the Emerging Future p.146.

In the practice of scribing, we attend to ourselves (our Self, considering authenticity and how necessary this inner knowing is to show up at all…) to a group in the room, to the organization the group represents, to the culture of the org, to the society within which the culture manifests, to the planet… and depending on how far out we want to go – to the solar system, galaxy, etc. We attend at any of these realms, and often to more than one, as necessary, as is possible.

The range of attention relates to that which is taken in, received, and then that which is turned outward, revealed, through the hand. It’s a reciprocal relation, between receiving and revealing, and often they enhance each other.

The more open the scribe, the more received. The more received, the more revealed. The more revealed, the more seen, thus the collective attention expands as form facilitates the growth.

When Otto talks about a “beam of attention”, i think of the above dynamic and how powerful it can be to FEEL the expansion of the beam AS we draw. Like a process of divining, the markers as dowsing rods, we sense into the present moment in a room, sense into a field, and from that place draw. As we draw, the way opens, the ore is revealed.

Directly relates to Containers