Captain’s Log: Issue 12 – Culture, Grammar, Trust

I’ve been writing a weekly email distributed newsletter: commentary on my travels and reflections, as well as various contemporarly news stories. I’m sharing occasional copies of the newsletter here on the blog.

Exploring the Social Age

Captain’s Log: Issue 12 – Culture, Grammar, Trust

I’ve been working in Sweden this week, presenting a series of sessions at a Nordic Defence conference, primarily around Social Learning in military contexts, and the wider shifts in power and control in the Social Age. A lot of my thinking has been around the social dynamics of community: motivators to engage, the forces that moderate or amplify stories, where the energy for growth comes from, how wider social forces have eroded the formal power of organisations, and even nations, and the emergence of new organising principles: engaged global communities of ideas.

Around the conference, I’ve been sketching out some new ideas for a ‘coffee shop book‘ on Trust: the idea is for it to be a reflective space, literally a sketchbook, where the illustrations create the scaffolding and the space for you to explore and capture your own thoughts on the subject. It’s intended to tie into the Landscape of Trust research: not as a data gathering tool, but rather to encourage individuals to reflect, and to create different ways to explore the subject, perhaps through art as well as words.

I’m considering distributing the Sketchbook as a paper and digital Zine, that people complete themselves, and then share photos of their completed exploration as a way for them to share their story.

In the News

Gathering sources on trust

I have no answers about Trust yet, as it’s early days for the research, but I’m collecting articles and perspectives to inform what will probably be a Trust Handbook that I’ll write next year.

http://fortune.com/2016/04/27/why-trust-motivates-employees-more-than-pay/

Please feel free to share any great articles or work that you come across!

Challenging the lethargy

I had the pleasure of meeting John Timpson last year: I loved two things about how he challenged traditional thinking. First, he was unafraid to simplify and, secondly, many established HR people are horrified when I say how he did it. Recruiting, the simple way:

http://www.bbc.co.uk/news/business-39653431

Cooking up Community

This says it all: a socially engaged brand, able to outcompete the bigger players, without even recognising its own constraint. Large organisations should beware…

http://www.bbc.co.uk/news/business-39058736

My writing

I’ve written around three core areas this week: ‘Reflections on Iceland’, ‘Organisational culture’ and the ‘Sketchbook of Trust’.

The six articles on Iceland explore facets of the expedition: from considering permanence and transition, through to reflections on islands as microcosms of wider society.

In ‘The Grammar of Culture‘, I build out some thinking that I first explored in conversation with Sae Schatz at the conference: what are the mechanisms through which meaning is created and held within culture? I look at four aspects of this: ‘grammar’, ‘artefacts’, ‘totems’, and ‘shadows’, reflecting the attributed and intrinsic meaning. As is often the case, I find that when one gives reflective time to seemingly simple concepts, they blossom into deeper fields of exploration.

Finally, I’ve shared five initial images of the Trust Coffee Sketchbook. It’s just a fun exploration of an idea at this stage, but, once the ‘Social Leadership 100 days’ book is out, I may crowdfund it and actually produce it.

The Landscape of Trust 12%

I’ve kept a focus on the Landscape of Trust research: we now have 113 narrative accounts, and will start some very (very!) preliminary analysis in the next week or so.

I’ve had a real focus on setting up Research Partner organisations: entities that will run a dedicated cohort in parallel through the research, allowing them an early chance to explore the subject, but also to baseline themselves against the wider picture: get in touch if you are interested in being a Research Partner!

Finally, through conversations, I’ve become quite interested in aspects of gender and trust: do women tend to trust other women more, or the same for men? I have no hypothesis around this, but there does appear to be a strong gender component in the early responses.

I will share regular updates on this: you can sign up here for the regular newsletters if you want to follow the work closely.

What I’m thinking about

Working with the military this week has had me thinking about evolved power, the relationship between social systems and hierarchies of control, and the sheer benefits of accessing tribal knowledge in this context.

Elsewhere, my initial work on a new publishing idea, as well as final proofing of the 100 days book, have reinforced to me the incredible freedom of democratised publishing in the Social Age.

If you enjoy this, please share and signup here

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The Trust Sketchbook: When Trust Fails

I shared some early ideas for a ‘coffee time Sketchbook of Trust‘ earlier this week: i’ve worked up a few more pages, so thought i’d share one today. I’m toying with releasing this as ‘half finished’ book, that you write in, draw in, and complete, with your own story of ‘what trust means to me’. It ties into the Landscape of Trust research, although not intended as part of the primary data gathering effort.

Sketchbook of Trust

I quite like the idea of people downloading or drawing in it, and sharing their ‘completed and coloured in’ book as part of an online coffee break. Early stage #WorkingOutLoud.

You can take part in the Landscape of Trust research here.

Sketchbook of Trust

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A Sketchbook Of Trust

I’ve been sketching up some pages for a book on Trust: not a book that i write, but rather a provocation, an incomplete book for people to fill in themselves, taking them through a reflective journey through the subject. This is very early stage, incomplete, #WorkingOutLoud.

A Sketchbook on Trust

In case you are interested, i am also using a different drawing method here: my first time using the Apple Pencil on the iPad direct (normally i use the Paper pencil, or the Wacom stylus).

A Sketchbook on Trust

The Apple pencil has a hard tip, which affects my writing, making it more like it is in real life! Spidery… but i think i can live with it.

A Sketchbook on Trust

Also, these are my only black and white sketches, so a deviation from my usual colour palette. Still, it’s an experiment… I may go on to crowdfund this, once the next book is out, if there is sufficient interest.

A Sketchbook on Trust

Remember, if you want to take part in the Landscape of Trust research, you can do so here.

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The Grammar of Culture

My nephew has become seemingly obsessed by Supermarkets, wanting to know how they evolved, when i first visited one, where it was located, what brand it was. My own experience of supermarkets as a child was not radically different from his experience today, although today there is a fundamental shift towards self checkouts or, in the case of Amazon’s prototype work, no checkout at all. The fundamental grammar of the experience is evolving, but substantially unchanged: dynamics of customer, displays, selection, transaction.

The Grammar of Culture

Reflecting on this yesterday, i realised how colonial the grammar of supermarkets is: i can visit a supermarket almost anywhere in the world, and certain signs are common: conventions of merchandising, the conventions of packaging, the rituals of sale. Indeed, it’s not just colours and shapes, it’s the spread of totemic power: the word ‘sale‘ itself becomes endemic. Everywhere i see clothes for sale with random words of english, or Japanese (SuperDry): totemic value assigned through culturally held notions of value. There is nothing intrinsic in these languages: they are imbued by our understanding of this emerging global culture.

This is the new colonisation: not the totems of power, not the artefacts alone, not simply shadows, but rather the fundamental grammar. Organising principles and systems of energy and control. Not mathematically derived constants, but socially determined principles, underlying the expressions of culture. Deeply pervasive, easily transmitted, toxic to local tradition.

Maybe consider these four features of culture: ‘grammar‘, ‘totems‘, ‘artefacts‘, and ‘shadows‘.

Artefacts are those things made by our own hands: physical remnants, books, signage, those things that are manufactured. Artefacts travel physically and can appropriate and represent the progression of power, projected. The AK47 rifle is an artefact, and it symbolises the political struggle between communism and capitalism or, latterly, fundamentalism and the mainstream. Coke cans are artefacts, colonised across the world, carrying their significance with them.

Totems are reflections of this: deliberate attempts to put physical form around cultural significance. War memorials are artefacts, but also totems. Totems deliberately invoke, or seek to invoke, meaning. Where artefacts are the output of culture, totems represent it. Totems hold a type of power: the deliberate utilisation of totems often forms part of aggressive suppression or subversion. When Colonel Gadaffi wielded a gold plated AK47, he invoked totemic power. Similarly, when President Bush stood on an aircraft carrier wearing his old flight jacket, he did the same. Within gated cultures, totems can have great significance for entry.

Shadows are pale reflections of totems: artefacts that have lost their imbued meaning, orphaned from significance, separated from our collective reality, signposts of nothing. Archaeologists uncover shadows when they find the form, but lack the culturally determined meaning.

Sometimes organisations or formal powers try to deliberately turn totems into shadows: renaming cities, banishing symbols, perhaps we can even read it into how, in Germany, swastikas are illegal. By controlling the totems of power, by restricting the symbols, we can perhaps, or at least attempt, to control the power itself. Totems that garner their power through networked authority (as a swastika does) may, though, be simply empowered by our efforts to disrupt the network.

The grammar of culture is complex: there is the thing, and the understanding of the thing. There are artefacts and meaning, both separate. Artefacts have form, but no imbued power or meaning. Totems have meaning, but not measurable in the form. Shadows lack meaning, having had it wrest away from them by time, or through the erosive power of other totems, appropriated to a new cause.

The Romans used this approach: when integrating into a new space, they would seek to understand and adapt existing religions, not simply to bury or break them. Thus, they ended up with hybrids: co-owned by the old and the new. This type of cultural pollution is really what we see today, carried by the major brands and, primarily, transmitted through mass media.

Look simply how generic ‘looks‘ have become: ask any sulky teenager to strike an Instagram pose, and you will likely witness the pursed lips and finger to one side: the way that even poses and body language are transmitted through media, globally. Innovation is replicated fast: how many school children could strike a Usain Bolt arrow pose? The cultural transmission of meaning is well documented.

Organisations often seek to influence or change culture through blunt force trauma: they seek to control it through rules, through education, through the trappings of power. By changing buildings, by changing brand, they think that they have power over culture, and yet the grammar of culture is complex. Perhaps the Romans had it right all along: change through engagement. Neither one thing, not another.

All things change: my understanding of a supermarket will be subverted by technology, by social innovation, maybe even swept away by a fundamentally new paradigm of smart cupboards and drone delivery. Even those things we think are set in stone are like leaves in the wind, when faced with the stiff breeze of time.

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Iceland: Reflections

I’m unsure exactly what my preconception of Reykjavik was, possibly somewhere around the glossy tourist shots of sophisticated bars and famous nightlife, but it was subtly defied by the grounded reality. Everywhere in Iceland, there is a certain understatement, a purposeful and silent foundation. For me, the atmosphere was of warmth, a certain recent growth, and the unmistakable sense of a working port: a busy environment with only the thinest veneer of the ‘international’ overlaid. Certainly once you got beyond the main shopping street (which by any pace would only take you fifteen minutes or so), you are into a much more direct and utilitarian space.

Iceland - Reflections

I enjoyed Reykjavik as much as any of the rest of my time in Iceland, although my time in the city itself was deliberately short: cities are the backdrop to an expedition, not the destination. The two nights in the city punctuated my wider journey around the island. In some ways, that punctuation satisfied: one visit as a stranger, one as a friend, one outbound, one homecoming.

The city itself falls away remarkably fast: not since my time exploring the former Soviet block cities of Eastern Europe have i been so struck by the lack of edgelands, the sudden transition from urban to rural. In the latter, it’s a result of central planning, whilst here, it’s because the landscape dominates. The city is carved from the land. Where you stop carving, you are straight to nature. And here, nature is a landscape of ice and fire, stone and water.

I find myself obsessing over tractors.

They settle, like particularly fat migrating birds, everywhere. Not one or two, but dozens, often three or four together on a farm. I can only suppose that they each serve a specialised purpose, that farming here is particularly labour intensive, or that nobody ever throws anything away. Or possibly a combination of all three. I rarely see a new tractor, but i see plenty of middle aged and well maintained vehicles. Just shuttling around. Periodically, i encounter a rusty dinosaur: rubber stripped from metal wheels, paint rusted away, gently oxidising to the earth from which it crawled.

Iceland - Reflections

One day, i follow drive through a small town, little more than a harbour, a few warehouses, two dozen houses. Unloading takes place from a bulk carrier: on the dockside, a bright yellow JCB hauls wide fabric bags of something from a boat. From the illustration and my pigeon Icelandic, i surmise that it’s horse related. Food supplements maybe? Whatever: many times a day i pass farms that seem to carve their subsistence from horses (although i never quite fathom out how, despite an in depth conversation with a farmer who tends to them) I am unclear if they are exported, ridden or eaten, or in what ratio of the three they exist.

Through the rest of the day, i pass the loaded lorries, distributing this new found bounty down impossibly narrow roads. Motoring from farm to farm, they follow a predictable choreography: the lorry simply stops on the road, the farmer trundles down in his selected tractor, and greetings are exchanged. The slow process of transfer pays scant regard to any other traffic and my one attempt to engage with a smile and wave is quietly ignored. They’ve seen it all before.

Everything is shut: we are in the shoulder season. Not the midwinter nighttime of the Northern Lights and perpetually optimistic tourists, nor the midsummer days, keeping you wakeful through the perpetual dawn. Rather, the edge: mid days, mid nights, rain, sun and snow. A gentle season of holidays and shuttered shops: tea rooms boarded against the snows, a season of repainting, regeneration, restocking, and renewal.

Tourism sits gently upon the shoulders here: rarely intrusive, but clearly the most popular sites are creaking. I see signs of this in the new pathways built through the landscape: desire lines obliterated by carefully constructed walkways and steps. An attempt to impose order upon the wandering chaos. Often ignored.

Each day picks up a rhythm: waking, breakfast, then the map. Maps are abstractions: we learn to read them just as we learn to read books or sagas. We interact with the paper, but visualise the land. Winter hills and mountains, water and slopes. We inch our way across the landscape, one page at a time. In places, the snow is deep upon the road: in places, the only sign of where the road runs is the yellow markers, religiously set up for just this eventuality. I pick my way carefully.

The map does not capture the cold, does not show the view, does not sense the precipitous wayfaring, showing simply a tinted representation of hills and dales, creased and stapled, fixed in print.

The interior is closed. A harsh statement that puts this country starkly at odds with my own. Here, nature claims the centre, leaving communities to cling to the perimeter. Whilst the map shows a dotted red line crossing the middle, the track is firmly shut. Iced, snowed, rock filled and impassible. Even the peripheral roads in the Western Fjords are shut for much of the winter, until the road crews break through again come the Spring.

Roads here are not permanent, but rather trodden anew after every storm and subsidence. The winter ice reshapes everything. I like the sound of the ‘road crew’, invoking images of rugged Icelanders, carving through the rockfalls and battling the power of the storms. When i finally come across one, it’s something of a disappointment to find them drinking tea at the gas station. Everything changes i guess.

You read a landscape through the cultural filters of your youth: i grew up on rolling hills, ancient woodlands, clear chalk streams. Here, it’s a harsher landscape with few trees at all. I can ‘read’ timber buildings, but the stone structures here elude me, and the the jump from ancient to modern seems to be one single step: there is the old, there is the new, but there is little transition. Almost everywhere i find a town it is steel and plastic clad. Practical, pragmatic, new.

Brands are so endemic, so deeply permeated through almost every culture, that i fail to spot the signs. When i visit the supermarket, it’s not particularly different from the supermarket at home. Sure, the trimmings and trappings vary, but the principle is the same. Mass produced, distributed, plastic clad. Whilst i am spared Starbucks, the infiltration of global brands is clearly a move in progress. Progress? Of sorts i suppose. The generic colonisation of culture strikes me ever more, the more i travel. Brands lead the way, but bring with them language, cultural signifiers, uniformity and, ultimately, evolved identity. It’s convenient, but i suspect our future histories will judge us harshly. Still: you cannot protect culture by law: you have to live it and crave it. Ultimately, you have to create it.

There is a stark beauty here. I find myself more deeply reflective than usual: it’s time out, not simply away from home and work, but away from my everyday reality. Removed from comfort, both spiritually and physically. This is a harsh landscape. But a deeply satisfying one. A place to explore. Not, i suspect, for the last time.

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Iceland: Transitions

Transitional spaces seem to have particular importance and prominence on islands: harbours, estuaries, and airports being the touchpoints between the island and elsewhere. Both functional and metaphorical, they are the gateways. It’s from these spaces that all roads and rivers lead. It’s through these spaces that all goods flow, immigrations occurs, and emotional farewells are had. These nexus points are typically hubs of activity, something of particular prominence on my own circular journey.

Iceland - Transitions

As i drive around the island, the pattern repeats: a port, a town, provisions, coffee, hotels and petrol, then remarkably fast, back into the wilderness. There are few edgelands in these tiny towns: you are in, or you are out. An occasional goods yard, a snowplough, a fuel station, then away. The urban barely flickers from the rural, many of these tiny stops housing just a few hundred people, little more than docks, goods yards, loading points, and home to a few.

Iceland - Transitions

The gently familiar lulling of the open road, the town, the open road, leaves days blurring, as the everyday loses relevance, replaced instead by exploration, by transition, by curiosity and the endlessly unfurling view.

Other patterns emerge: late afternoon i become familiar with the outbound lories, only two or three, carrying a shipping container, some farm supplies or white goods, completing their journey.

Shipping containers carry their quiet revolution everywhere: once their useful life at sea is done, they rust in farmyards, the final resting place of redundant fencing and decrepit machinery.

Containers revolutionised the transportation of goods, in many small ways, enabling pallet bound delivery, and the aggregation of multiple goods into one load: they moved prominence to distribution centres. The goods we convey make their transition safely out of sight, but still they transition: between ships, from ship to shore, across jurisdictions, their accompanying chits doubtless digitised now, or so i imagine.

Documentation forms part of transitions: records, logging, passporting, a combination of observation and control. A historical record of the most mundane of everydays.

We love to measure relativity: imports versus exports, in and out, back and forth. My own journey is circular, not simply around the island, but through the entry and exit. I transition. I am in transit. Islands in constant motion, bound by air and sea, insular. Bounded.

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Iceland: Abandoned

I made the trek out to the plane wreck to take the iconic photos: aluminium undimmed by age, bright against the black ash, silhouetted by the distant mountains, decaying under a clear blue sky.

Iceland - abandoned

There were no casualties when the aircraft came down in the Second World War: iced up, it ditched just behind the beach, and i imagine some very relieved men walked away, abandoning the wreck to the elements and, later, the ministrations of tourists and souvenir hunters. At some point, the tail section was cut off and dragged away. The wings are missing beyond the engine pods. The cockpit stripped of all but wire. The desiccated remains picked over and inspected by occasional visitors and bewildered locals, who seemingly remain perplexed by interest in the site.

Iceland - abandoned

We abandon things when they have served their purpose, when they lack use: when they become purposeless. Shape and form without purpose. Spent potential. Design without application: spent of energy, unable to rise from the ashes. When those things are too big to move, they remain where they sit: slowly decaying, eroded of intent. Buildings become abandoned when their purpose is lost, especially when something innate in their form leaves them unadaptable, unable to find a new purpose, unable to find new meaning. Cars are left to rust, steam trains abandoned in sidings, old farmhouses rotting down grassed up lanes, themselves littered with broken refrigerators.

Landscapes erode, whilst the seemingly perfect artefacts of man decay. Mountains were never intended to be perfect, engineered to millimetre perfection: they have no design tolerance, no quality control. An aircraft, by contrast, is designed for perfection: prototyped, crafted, perfected. It is build for purpose, and only actualises through it’s purpose: on the ground, it lies crippled, unable to be. Form only a shadow of it’s motion. But in the air, it soars and realises not what it can be, but truly what it is: aloft, defiant, perfect.

The landscape is ancient and weathered, and yet shows no sign of decay, whilst, in geological terms, the plane is youthful, and yet, stripped of purpose, lies pointless. It’s apathy made all the more sorrowful by the occasional tourist who climbs atop to have their photo snapped, serving simply as dramatic, iconic, listless backdrop.

Whilst i enjoy my trek out, and dutifully snap my photos, the experience is wonderfully pointless: it has significance only for it’s abstracted interest. I do not see many wrecked planes up close, and there is a certain terrible beauty in seeing that elegant form stripped of glamour and potential. We are somewhat drawn like crows to carrion to watch closely the tangled wrecks of ships and planes. They lie out of their water, out of their sky, abstracted from the elements that gave them purpose and life.

I walk away, leaving the silent aluminium to it’s decades asleep.The black ash crunches under my boots: i walk away, not relieved, as the pilot must have been, but rather bemused, both by the surreal nature of the encounter, and my own inexplicable enjoyment of it. A plane that cannot fly: an expression of dramatic futility in a landscape of overwhelming ragged beauty and scale. An unresolved dichotomy. Abandoned, and yet somehow unresolved.

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