No Walk in the Park

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Karnataka State in India is considering a Design Park along the lines of one in Dubai. Design is on everyone’s mind. Creative Economies are engines of growth, and the UK, as one example, has done a great job in making that real.

Could parks such as these alone become engines for the creative economy, or, does one need a more thoughtful approach to creating innovation ecosystems?

I am critical of such efforts, as I have seen a history of them not having enduring power. I advocate a deeper approach from a long-term societal development perspective, which is perhaps less spectacular.

In India, Industrial Parks have come and gone — there were software parks, electronic cities, and export zones and I am sure there are many that escape my memory. I do not believe any of them have made any substantial difference to the landscape, given our global standings in these areas. What made an enduring difference, was the Public Sector for example, much of  which is now on sale.

The fad of the day is a pretext to a spectacle — a big investment — some people, usually in construction and infrastructure will make a lot of money. Somebody who had access to a political ear, whispered promises and lullabies that fed into the hunger for finding a place on the world stage.

Not embedded in a wider culture, all these spectacles eventually die, as they need to wall themselves off behind gated communities, and mostly serve people elsewhere, to survive. There are perhaps now more graveyards than parks of these bygone eras.

So, here then comes yet another grand initiative.

As has been the general trend of ‘development’ in Bangalore in the past — one will need to go even farther off to find real estate, for it will demand huge amount of land. And, wherever they find that place, will be difficult to commute to — adding to the woes of this unfortunate city and its congestion and traffic woes.

And, all this in a society that is broadly not sensitive to design in its popular sense. All you need to do is check what is offered in most of the design schools across the country and the courses that are high in demand even in the best ones.

One of the NIIT founders (Mr. Thadani) several years ago, had rightly recognized that the country needed a quality consciousness. He was going to set up quality institutes along the lines of NIIT. Guess where that went?

The ideas of design, embedded in projects such as these, essentially feed the consumer economy driven engines — serving fashion and fad. It will perhaps, and in all likelihood, have very little impact on the well-being of the average citizen.

I have personally experienced what is mostly called ‘design’ — whether in the form of products or services. The lesser we talk about services the better — for neither design, nor quality exist in the so-called ‘back office’ of the world — clearly having learned nothing from what it means to provide quality services abroad.

Trickle-down theories do not work for sure. There are other forms of diffusion, and these are certainly not conceived strategically that way.

Product quality is a sham — there is much consciousness about “Brand” for sure — for there is excellence in but one field — Advertising — and the worlds of make-believe. Beware if you go deep under the covers of what you consume.

In the small town where I spent a little over a year recently, you could buy Zeiss lenses, except they did not know how to fit them into your frames, you could buy luxury paints, except the painters did not know what a good painting job looked like.

But, we do make exquisite jingles, and brand consciousness is high.

So, here comes another sham spectacle on a large stage — like other parks this too will wither and die.

Perhaps, I do not sound hopeful here. However, there is indeed an alternative, there always is — it is not in the spectacular and it will take hard work, and institution building and culture building, which is unfortunately not on the menu. It takes gumption, spine and understanding, and that is no walk in the park.

Rehearsing for theater and Design Research

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A conversation this morning, and this happened between long-time friends from the amateur theater world in Bangalore India, prompted this post. It occurred to me that rehearsals, which often lasted a couple of months or more, provided a direct experience in what it might mean in order to ‘make’ in a design studio for insight.

If a theater group stays with a production, then there is more that happens in terms of learning over time, as the play evolves and matures in its later iterations. I will come to that aspect of learning in some later post.

Here is a little background. Almost forty years ago, I got to become a part of an amateur theater group, Gnatak, in Bangalore, India. Pronounced ‘Natak’ (naa tuck), the Indian word for theater, the ‘G’ in the front of its spelling had many interpretations, left deliberately open. Every now and then, people would wonder and come up with some interpretation of what that letter might stand for —and in the process it seemed to provide a constantly evolving construction of identity.

That is a fascinating thought to explore, perhaps later — how posing an enigma creates a new language and grammar, opening up spaces for conversation and leaving a mystery in its trail for ongoing wonderment and fluid redefinition.

The motley group of college students, professional engineers, activists, artists, journalists, business people — fluidly came together around some sort of a permanent core of maybe eight or ten regulars, to produce on an average three to four plays a year. I happened to be there for almost five years during this intense period, until professional and other personal forces did their centrifugal magic.

At some other time, I will perhaps also write about the amazing productivity of the group’s informal organization, a concept I leveraged in my role as a Business Leader in an American Multinational to great success. It works!

The thought that got me to write this morning has to do with how the rehearsal process, a subset of the totality that was Gnatak for me, was a fascinating creative experience, a process whereby dead scripts and texts were brought to life.

The scripts, often written for a foreign, non-Indian context, (because we were all WAIP — Westernized, Anglo-Indian People), needed to be in English, the language we who came from across the country shared and were fluent in, often were about second hand-experiences.

These narratives were about strange contexts that we only had second-hand information, knowledge or understanding of. We were global citizens in some sense because of our upbringing and schooling, even though most of our knowledge beyond India was second or third-hand. However, we were merely in the face of huge unknowns that we needed to navigate over the course of the rehearsal months.

The not knowing too much about the context perhaps was an interesting prerequisite for our creativity — as we could make whatever meaning we wanted, giving it the accents of our looks, worldviews, ideas, and Indian-English manners of speaking in the process.

Somehow, through a process of initial probatory readings, a play was picked, because it produced some intuitive sense of its potential — it supposedly had ‘ghum’, another fluid word that in essence suggested a kind of radical exciting energy. 

Random contextual conditions would then decide what followed — who was available to act, who had time to direct, what spaces were available for rehearsal etc. 

Amateur theaters did not have permanent rehearsal spaces, which in afterthought is extremely conducive to creativity. All kinds of social networks came to life to find us somewhere we could practice. Often schools would let us use their halls to rehearse after hours, ignoring some of the social life and language that came with what characterized our unique sociality. 

But, when the gates were closed and lights turned off for the evening, there were always the streets lights under which one could go on into the early hours of the morning, timing determined by how late one could find restaurants that served tea. That is another fascinating dimension of an amateur theater ecosystem one must delve into later.

Every day the rehearsals were a revelation. One understood more about some nuance of the author’s intentions, historical context, the particular use of language, strange words that evoked our own made up meanings etc. Sometimes these revelations were radical and surprising. 

But, there was something else that happened that was perhaps more important for me. As we gave birth to these strange worlds as surrogates, who was acting, how they felt that day, and how they felt about each other, changed what happened on a given evening.  And, in that happening, something more opened up in the possibility spaces of the play’s worlds – Way beyond perhaps what the playwright might have had in mind. Every day these inter-personal dynamics changed what the play might have meant and what it meant to us.

This was a unique process of insight generation and it would definitely not have happened without the immersion and its youthful intensity. Some of the best and most interesting performances happened during these evenings and early hours of the morning on a street corner somewhere. 

There is one thing one learns from this process — there are no guarantees, irrespective of how much the idea is to concretize and capture the production of experience in a repeatable manner, that you will see something again. Not even on the day of the performance are you assured of a reproduction of your best rehearsal moments, though there is always the possibility of surprises on the day of the performance itself.

What a gift it is then to witness the evolution of meaning-making during the rehearsal, and not just some notion of a final version on the day of the public performance.

What then does this have to do with design research one might ask.

One watches a public performance of everyday life, in some kind of an ethnographic study sense. One brings back snapshots, and artifacts, and tries to capture and make sense of what those things might mean, looking for some kind of an essence beyond the literality of the spectacle and through that reflection reveal the scripts and the generative, productive processes — that are the ’sutras’ and the ‘mantras’, the signature patterns of the people we observe.

Gnatak too had a signature style — a very distinctive approach to what plays we chose to perform and how we did them. There are stories about how some other groups tried to do the same plays several decades later, and left audiences yearning for the return of the original.

Those signatures are what one is searching for too in society, the purpose of the research. 

It is the human collective that produces the human agents that is the intention of our understanding and quest. What for example, are the scripts in operation and how do we produce our responses to Covid or Climate Change? 

We can uncover the secrets of our improvisations and we could learn something from theater and the rehearsal process in particular about how to go backstage and get to those invisible authors of our lives.

Strategic Thinking – the need for a philosophical approach to finding creative alternatives.

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A colleague just returning from teaching creativity in a Corporate setting expressed the need for logic and philosophy in education as a prerequisite. He seemed somewhat frustrated by the experience. I have had similar experiences working with not just design students, but people in positions that need to make strategic decisions, and need to grapple with and navigate complexity.

One advocates stepping out of the box, taking a broader, deeper and temporally expansive perspective, but almost universally, people in practical professions (managers, engineers, designers) seem to find it difficult.

There is a general cultural anathema to being strategic – what with thought leaders advocating ‘failing fast’ and experimentation as antidotes. Well we have a litany of failures in the world to show that the latter process only works occasionally (statistically low probabilities of success) though it is massively celebrated in popular culture.

In my opinion, t is not a pattern that one should really practice, particularly by those who need to think about bigger issues. This is not an argument against experimentation or probing, practices integral to innovation, and creativity is an important driver.

Questioning and critical practice that go hand-in-hand with being strategic (by strategic, I mean those issues that have broader and deeper impact on the world and demand creative impact making), are not practiced enough in the face of urgent action. Being strategic takes time, and there are no easy solutions often except what gets resolved through conversations.

Somewhere in our broader education system we have lost this foundational ability to abstract in our pursuit of the concrete and immediate. By the broader system, I include more than just formal educational institutions – we find a general societal loss of an appetite for deeper thought and conversations. We were supposed to be an ‘Argumentative Society’ (In India at least). You can only be creative in a culture of creativity in which creative acts happen – creativity is not a private pastime or something you practice in fishbowls.

A recent experience witnessed a design studio with floor-to-ceiling glass and you could see people practicing design – design as spectacle.

Creativity flourishes in cultures of positive dissent and pushback. Clarity of purpose and meaning are the logic that shapes – it can be constraining or creative. I tried teaching people to be creative where they had to return to authoritarian cultures where questioning was the first step to career hara-kiri. And anyway wisdom was expected to trickle-down, or rooted in some antiquity. Of course there were enough marketing tropes about ‘navigating the future’ or some equally insipid marketing blah.

There might be an easier approach than having people study philosophy though – one can arrive at a philosophical attitude through the process of learning to think in abstract terms. 

I found most young designers have difficulties with abstractions and with identifying patterns and meta patterns – being able to get to the essence of something. Architectural thinking is perhaps a good way to begin.

Getting to the essence of something is like getting to the genetic code of that object – locating a generative core. Complex situations need us to find these deeper patterns – conceptual, ideological, even spiritual – for they hold much power to shape or constrain.

Complex humanity (ahh human-centered design!!) – is multi-dimensional, and one seems to want to approach it with little knowledge of sociology, or history, or politics, or civics, or even a deeper why of ones own cultural practices – where blind faith comes from I guess. Such is the deplorable state of our education systems – the depths of siloed expertise being such an obstacle to understanding let alone synthesis – the ability to find connections and relationships and coherence and meaning – to create practical holistic spaces for action.

Only when we loosen those deep structures will creative alternatives emerge. In order to do that we have to get past the literal. We will need language and grammar, and a comfort with uncertainty that is the wellspring of all that is creative. It is where our hope lies – just advocating for creativity – and that is a trope that I do not think popular discourse really understands. Making cute drawings you forgot to make after childhood will not get you there.

Once we learn to see and appreciate patterns, we begin to understand similarities and differences and what is universal and what common, and what deeper causes that are generally hidden from our perspectives are operational in our lives. The ‘logic’ of living human patterns is what we need.

And, from that practice comes the practice of meta-patterning, and that is where hope lies. That practice of meta-patterning is the foundation of philosophy or at least being philosophical and not necessarily being a philosopher in some academic sense.

Strategic design touches all branches of philosophy, except not as it is practiced. One must think about phenomenology, epistemology, ontology, ethics, axiology and so on, in order to be a good strategic designer. If you truly are a good strategic designer, you must be a philosopher too – chicken and egg of causality here.

Grappling with complexity as practice in search of patterns and reflecting on patterns back in the studio in search of meta patterns, that is philosophical and that can lead to strategic creativity. Those that can deal with MetaPatterns can begin to become Strategic MetaDesigners.

 

Note: – (MetaDesign is a framework I have been developing – a practice that lead complex Human Evolutionary Social Systems to better futures – a mouthful alright – CHESS, Living Enterprises, Better Futures ).

Lessons from Afghanistan – Realizing Better Outcomes

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The Taliban have done horrible things in the past, when they had an opportunity to govern. The things that most stand out as signatures are their brutality, intolerance, misogyny, among other things.

They came in to restore order, and in the midst of institutional failure, delivered on some basic promises of stability and order.

Their vision however cannot create a flourishing, vital society – one that can grow beyond whatever traditional models of world-making they have in mind.

Yet, the models they offered, won against the alternatives that the Western countries had to offer – in Afghanistan as a whole, not just in the pockets of Kabul.

Why? Why did the institutions people abhorred, that created a vacuum into which the Taliban stepped, not create alternative institutions?

That is our learning #1.

The deeper archetypes that inform such structures remained latent and their corruption is also their weakness – they cannot even defend their own pathologies (I mean In Afghanistan. In North Korea, they have mastered that, and in a number of countries that are in between and soon becoming like their polar extremes above).

The Taliban will eventually die, and they will most likely take the society and nation down with them. Because, what they have to offer is not generative – nothing based on their ideology can be generative except in a medieval world.

Accelerating that inner breakdown is a priority for the world – for they cannot become exemplars of failing order elsewhere, but we must also have better alternatives to offer – Not just Visions, but practices for realizing better futures.

What kind of an attractor can the world create that Afghanistan and many others like them will find compelling. Clearly whatever we have is not working.

Strategic Design – Shifting the Locus

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When we think of Strategic Decision-Making in complex social situations, which I think of as synonymous with Strategic Design, we tend to see body of decision makers – people in positions of authority. In the case of civic services, the idea of decision makers, merges with the agencies providing the services.

A post on social media by Benjamin Taylor, who runs a group called ‘Systems Community of Inquiry’ got me thinking about this issue, and in particular the question of where the locus of decision-making should ideally be.

This is his post – Benjamin Taylor Post.

As decision makers, civic agencies are constantly challenged to keep up with evolving needs. These services come in a large variety of forms, and the more complex the society they serve, the more complex the corresponding portfolio. How then should these be designed so that they are in some sense ahead of the needs curve?

I think of the role of these services as creating a design platform for society to engage in its own acts of world-making. The ecosystem of service providers then can include a number of different entities in the Value Creating Ecosystem (VCE), including private and non-governmental agencies. In fact, citizens themselves are also a part of this VCE, in fact central to it. 

When seen in this manner, clearly the VCE exists to serve the Citizens, and it is they then who should be empowered to make strategic choices – the implication of the idea behind the notion of ‘everybody designs’. This is a shift in the locus of strategic decision-making.

Clearly this is non-trivial and not all citizen bodies are capable of making such complex decisions. But, as the complexity of society increases, I believe that this is essential and inevitable. 

This is also the idea perhaps in the notion of a p2p commons, where increasingly citizens would take responsibility for designing and defining what they need for their world-making.

My final thought therefore is the need to separate the idea of governance from that of providing civic services, or ecosystem services in general. The Governance of the VCE has the task of designing the platforms and keeping ahead of the curve. It must therefore also take on the responsibility for building such capabilities and practices that can steer this complex Living Enterprise to realize better futures on an ongoing basis – to shape it evolution.

MetaDesign – Transdisciplinary Practices beyond disciplinary simplicities

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There is an urgent need to address complex societal challenges, and while each discipline makes valiant efforts to rise up to the task, they are bound to find themselves inadequate.

The Complexities of Social Challenges cannot be understood at the level at which they were created, nor can they therefore also be solved by the disciplinary thinking that created them. It is necessary to follow Einstein’s admonition and find a vantage point that goes beyond any particular disciplinary boundaries.

There is a tendency to appropriate this vantage point as a redefinition or renaming of one’s own favorite discipline – Design aspires to become strategic, as does Foresight, or Innovation, or Systems Thinking, or Technology. Who does not wish that the impact they make on the world to be anything less than strategic – disruptive, Game-changing?

However, it is also natural, that while they appropriate some of the Methods, Tools and Techniques from the other disciplines to address the gaps, these efforts eventually turn out to be simplifications – the same broader challenge of narrow disciplinary focus that contributed to the situations in the first place.

Richard Normann in a business context and in his book ‘Reframing Business’, called for the use of a Crane – a metaphoric device that lifts you out of the debris of the current landscape to find that other vantage point.

I personally have no preference for one or the other discipline.

In my professional career I have tried to sincerely change the world through Technology, Innovation, Systems, Foresight and Design among other things and I have always found them individually wanting in some way of the other.

So, when I term this new vantage point, MetaDesign, I am using the term Design in a much broader sense – as the act of Intentional Change-Making, as a verb rather than a Noun.

It is the act of and the Practice of Making Better Worlds and Realizing Better Futures, a continually evolving effort, just like the Complex Evolutionary System that Living Enterprises are. And if Systems Thinking is the art of synthesis, then MetaDesign is the causality that makes better futures, and the trans-disciplinary synthesis that puts you on that trajectory.

What I believe – a credo for my practice

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Note:
It has been a while since I have posted something here. I have used the time of the Covid Pause to further clarify my thinking. I just wanted to quickly put down some of my thoughts – mostly for my own sake. Will come back to edit and clean up.

 

Realizing Better Futures – What I believe.

All Human Enterprises are Living Enterprises. They are best understood as complex Evolutionary Systems – There are no simple answers to Life and the [[Living Enterprise]]

For a Living Enterprise to flourish and thrive over time in a changing context – it must have certain Capabilities and Capacities.

In the face of our challenges, [[Realizing Better Futures]] is what matters – it is an incremental/evolutionary and practical thing, not an idealistic thing – Realizing alternatives is what Innovators do – therefore the discipline of Innovation Management Matters more to Realizing alternative and better Futures than just design.

This ability to flourish [ remain whole, healthy and vital ] is a result of Practice and something that matures over time – This Practice is [[Meta Design]].

Empowering the Living Enterprise is what is important – Create an Autonomous, Autopoietic Enterprise. Social Challenges are best addressed collectively by the Enterprise as a whole.

The Meta Design Practice spans several modes of Being and Becoming – These include the ability to discover generative external and internal structures, dynamic behaviors, foresight, representations, change-making etc,.

Because the process of Realizing Better Futures is Transformational and requires paradigmatic Shifts – Transition Leadership becomes critical to success – Leadership can also become ingrained in an autonomous enterprise.

To be such an Enterprise that can evolve and change, you need certain characteristics – [[Cx]] – this comes from the understanding that [[Living Enterprise]] are Complex Evolutionary Systems, embedded in Complex Realities – particularly because these are Human Enterprises. Developing such Capabilities happens through Practice.

Social Challenges come about due to pathologies in [[Meta Design]] Practices. The [[Integral]] nature of the Living Enterprise is compromised in some ways – often due to inappropriate interventions (Designs). They can also happen unintentionally.

How to critique and analyze Complex Evolutionary Systems is a separate Body of Knowledge. It informs Meta Design, but is not a part of it. Briefly, CES are multi-dimensional, multi-scalar – and not very easy to reduce to simplistic representations. Experts have many theories that provide explanations as well as Ideas for how to making things better. These ideas are usually siloed and aggravate the fragmentation.

This is because, social realities are not only described using Complexity or Evolutionary Ecological thinking. We are in the Search for Better Explanations and Understanding – particularly a Casual Explanation that can help us design interventions and Drive Change. We uncover hidden and invisible, things, forces, relationships.

Nothing should be held sacrosanct – always question – the more strategic the challenge – the deeper the questioning. The [[Meta Design]] Practice dismantles existing structures, thus opening up spaces and offers alternative representations for Strategic Choice and Decision Making.

Designing is essentially a task of making choices – Some of these choices are Strategic. This act of making Strategic Choices, is pivotal to [[Realizing Better Futures]]. Better is not [[Normative]] – though there are certain Universal Principles that can be leveraged.

Strategic Design is best addressed at the Enterprise Level using Ecological and Evolutionary thinking. This is what makes it unlike traditional design. That changes how your approach Interventions, Architectures and the orchestration of Transitions.

There are no global answers or solutions – all answers are specific to your contexts. Depending on the seriousness of the Challenge – there is a need to go Upstream before one goes downstream. An enterprise must take its evolution in its own hands. Learning, something that is included in the idea of Meta-Design practice is critical.

From the Moribund to the Strategic – an Invitation to Conversations that matter

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How does one understand and grapple with complex intractable issues such as poverty, inequality, environmental degradation, violence, etc. in order to create better and more enduring outcomes?

These challenges cannot easily be traced to simple causes – and therefore are not amenable to superficial treatments. One needs to go beyond the current world of order, into the deeper layers of society – in order to explore other dimensions of reality, such as the Social and Cultural.

What is your current portfolio of capabilities for understanding spaces beyond your current world of Order? Can you understand the Complex? Is the landscape of your world Complex?

Most of those who deal with Ordered Systems – are either responsible for dysfunction, get less than optimal results for their work, are facing complex intractable challenges, or, are looking to create new Value, but not sure how to do that. All existing avenues have been exhausted. They also anticipate and increase complexity and uncertainty and do not know how to navigate it.

In order to do that, they need to look beyond their worlds of Order – Beyond their current understandings in Healthcare, Finance or Education, for example. They are uncertain about how to do that – there is not much clarity. The emerging world seems very complex and no clear paths are visible. Purely rational models (ways of constructing knowledge)of the modern, industrial era do not work.

Knowing how we know
For this one needs to revisit the way one constructs knowledge of the world in which we propose to intervene – because we have exhausted the potential of what used to be an Ordered World, and this new world that we propose to discover, is unfamiliar and not amenable to conventional ways of knowing and understanding.

Bigger Picture – Divergence – Opening up Strategic Options Spaces:
Having acquired new ways of knowing, more conducive to knowing complex situations, one needs to understand a complex reality – something that includes a complex landscape of possibilities.

The opportunity to create New and Novel value lies beyond the borders of current regimes of order. One then gets an understanding of a new whole, which can be described and a way to speculate possible pathways through that complexity.

This new whole that includes the world beyond the worlds of order is complex, and does not necessarily reduce complexity or uncertainty – if that is what you were trying to get a handle on – it just describes the real nature of the whole world and in some cases the possible reasons why it is so.

It however enables you to have much richer conversations that include several perspectives, or rather, does not ignore or leave out any perspective just in the interest of simplification or reduction. It points to the errors in the current models of the world of order.

Through these expanded and richer conversations it becomes possible to move forward in a better-informed path-finding. The process therefore ends in an Invitation to a strategic conversation, which would include deeper insights and therefore result in more strategic outcomes.

Carve out New Opportunities and Intervene
Now you can carve out opportunities from a richer landscape and develop interventions being guided by a new Strategic Architecture – a new set of Principles.

Acting in Complexity

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What does it mean to say, ’embrace complexity!’. This is something I have been pondering about for a while.

It is the recognition of a new kind if order – something we did not have language for – we also know the grammar of that expression- sometimes it is in visible structures but more often than not the structures are invisible. This is particularly true of human enterprise. It is much like a complex elephant – the kind that six blind men in the Jataka story try to figure out.

The purposeful human enterprise is a special case. When it encounters the real world, it must figure out how to make sense of and respond to this complexity in order to still achieve its purpose.

It needs the grammar and the language so that it can construct an appropriate response. It uses this to construct a model and Cilliers says this model must correspond as closely as possible to the world, but Borges or Foucault say that’s not possible. So, we are somehow condemned to never knowing completely- and yet we must act.

But we are no longer completely ignorant – what we have learnt is rather than command the world and expect it to obey, we invite it to a dance, and through this process, it reveals the balance of its secrets- that is our path to better knowledge. We cannot impose our will but tango and jazz.

The conversation is one that can anticipate and predict how the world will respond to our enquiries and requests.

The world is already engaged in a creative process – our presence must not intervene in its poetry but become co-creative.

The challenge for those that work in the design of new (digital) experiences, is to explore the transformational potential that digitizations harbor. Rather than slap digital onto the enterprise it asks how can one reimagine the enterprise in a fundamentally new way. Maybe develop better responses to some unanswered questions or wicked challenges. What are those?

To begin the process, we must have better knowledge – of what? What are the questions we must have good answers for? What has been worrying us – irrespective of whether a particular design challenge is on our mind. Could we make a strategic difference by considering something beyond the everyday?

Understanding the world is surely necessary, but so is the conception of a response- an enterprise that is a partner in the new creative endeavor- of value, perhaps more strategic!

Design schools do not have a discipline or practice that is analogous to the challenges strategic advisors face. The response is an artifact – the making of design principles.

The world cannot be described in a single way – the creative practitioner engages in a dialog and finds many answers – in that sense the practice is open-ended, but the essence, or the pearls start to reveal and speak the language of complex order. That is something we can learn from creative practitioners – how they pursue for discovery.

You need many probes, and single dives are inadequate- you must probe from many vantages – and many dimensions – like a grid one superimposes to tesselate and construct a whole image (techniques of painting from a photograph) – but it is all in the pursuit of seeking an answer to something – the pursuit of a more important question.

It calls for a deeper persistent engagement- not a one time thing – it is like acupuncture probes, or, constructing a jigsaw puzzle. You cannot do it in one setting.

We need to see new relationships- not the visible ones alone but the invisible ones within their own spaces and across spaces. Structures and flows lead to patterns in outcomes. Both structures and flows are novel.

How do you in your own world probe the unknown? What are your practices? What language and grammar do you use for understanding complexity?

When you see a swarm or beehive – when you see congestion or segregation – what questions arise? Are there analogous situations in your world? A catalog of the wicked.

What practices can you adopt or adapt? How do you construct questions? In the story of the sampling of the elephant in the Indian Jataka fable, and the formation of a fuzzy image. What is fuzzy logic here?

What you will ultimately behold still depends – self reflection and critique will reveal what perspectives inform your pictures of the world. What metaphors are at play? Landscapes and ecosystems.

Others will too. Another conversation- a meta conversation now occurs among our pictures – for we must now together construct yet another meta synthesis – a consensus tempered and informed by our purpose and the pragmatics of its realization. Once again, either we can conquer the landscape and impose on it a path, or invite a living organism to a dance.

Strategic design is about those choices – the degrees of intimacy we want in our relationship with the world – should we continue to act in narrow interests or become custodians of the worlds we inhabit.

The context of the larger Value Creating Complex and our own Value Creating Enterprise within it matter

In the Designed world of new experiences, there is more freedom for the agents – complex phenomena are likely to occur (fluid recombination) – harvesting from those appropriately is what is strategic- to anticipate and be proactive – how does complexity additionally manifest in digital worlds?

I could have used a sub-title for this post – Weaving tapestries – the warp of creative practice and the weft of complex human social worlds

The Formal and the Informal – Together

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When we engage with the world in order to better it, often we end-up primarily studying, engaging with and intervening in formal systems.

The totality however must include informal systems as well, since, depending on the context where we are situated, these informal systems might actually be the ones that predominantly shape or influence the outcomes we see and wish to address.

When, for example, we want to address challenges related to Public Health, the tendency is to look at the Public Health Value Creating Complex consisting of institutions and enterprises that provide services to the Public Health Ecosystem.

A comprehensive systemic analysis of such formal systems might lead us to understand the worldviews, beliefs and values that informed them, that gave rise to the concepts on which the designs are based. These dominant worldviews and conceptual architectures, obscure other forms of value creation, often inadvertently or deliberately creating conditions that lead to their suppression or elimination.

The formal systems however do not adequately fulfill the functions that the informal systems play, for various reasons. Needs they fulfill might be invisible, or poorly understood – some of the reasons why their value is overlooked. There could be others, more pragmatic concerns of viability or feasibility.

I think, when the formal and the informal are seen together, a better integration might be possible, whereby the overall design of the health complex, recognizes the whole and the formal and the informal complement each other.

This process of reconciliation among the stakeholders is critical – so rather than just focus on addressing the conflict and differences within the formal, the perspectives of the informal should also be included in strategic design efforts.