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What is a knowledge game?

What is a knowledge game?, originally uploaded by dgray_xplane.

Games and play are not the same thing.

Imagine a boy playing with a ball. He kicks the ball against a wall, and the ball bounces back to him. He stops the ball with his foot, and kicks the ball again. By engaging in this kind of play, the boy learns to associate certain movements of his body with the movements of the ball in space. We could call this associative play.

Now imagine that the boy is waiting for a friend. The friend appears, and the two boys begin to walk down a sidewalk together, kicking the ball back and forth as they go. Now the play has gained a social dimension; one boy’s actions suggest a response, and vice versa. You could think of this form of play as a kind of improvised conversation, where the two boys engage each other using the ball as a medium. This kind of play has no clear beginning or end: rather, it flows seamlessly from one state into another. We could call this streaming play.

Now imagine that the boys come to a small park, and that they become bored simply kicking the ball back and forth. One boy says to the other, “Let’s take turns trying to hit that tree. You have to kick the ball from behind this line.” The boy draws a line by dragging his heel through the dirt. “We’ll take turns kicking the ball. Each time you hit the tree you get a point. First one to five wins.” The other boy agrees and they begin to play. Now the play has become a game; a fundamentally different kind of play.

What makes a game different? We can break down this very simple game into some basic components that separate it from other kinds of play.

Game space: To enter into a game is to enter another kind of space, where the rules of ordinary life are temporarily suspended and replaced with the rules of the game space. In effect, a game creates an alternative world, a model world. To enter a game space, the players must agree to abide by the rules of that space, and they must enter willingly. It’s not a game if people are forced to play. This agreement among the players to temporarily suspend reality creates a safe place where the players can engage in behavior that might be risky, uncomfortable or even rude in their normal lives. By agreeing to a set of rules (stay behind the line, take turns kicking the ball, and so on), the two boys enter a shared world. Without that agreement the game would not be possible.

Boundaries: A game has boundaries in time and space. There is a time when a game begins – when the players enter the game space – and a time when they leave the game space, ending the game. The game space can be paused or activated by agreement of the players. We can imagine that the players agree to pause the game for lunch, or so one of them can go to the bathroom. The game will usually have a spatial boundary, outside of which the rules do not apply. Imagine, for example, that spectators gather to observe the kicking contest. It’s easy to see that they could not insert themselves between a player and the tree, or distract the players, without spoiling, or at least, changing, the game.

Rules for interaction: Within the game space, players agree to abide by rules that define the way the game-world operates. The game rules define the constraints of the game space, just as physical laws, like gravity, constrain the real world. According to the rules of the game world, a boy could no more kick the ball from the wrong side of the line than he could make a ball fall up. Of course he could do this, but not without violating the game space – something we call “cheating.”

Artifacts: Most games employ physical artifacts; objects that hold information about the game, either intrinsically or in their position. The ball and the tree in our game are such objects. When the ball hits the tree a point is scored. That’s information. Artifacts can be used to track progress and maintain a picture of the game’s current state. We can easily imagine, for example, that as each point is scored the boys place a stone on the ground, to help them keep track of the score – another kind of information artifact. The players are also artifacts in the sense that their position can hold information about the state of a game. Compare the position of players on a sporting field to the pieces on a chess board.

Goal: Players must have a way to know when the game is over; an end state that they are all striving to attain, that is understood and agreed to by all players. Sometimes a game can be timed, as in many sports, such as football. In our case, a goal is met every time a player hits the tree with the ball, and the game ends when the first player reaches five points.

We can find these familiar elements in any game, whether it be chess, tennis, poker or ring-around-the rosie. On reflection, you will see that every game is a world which evolves in stages, as follows: Imagine the world, create the world, enter the world, explore the world, leave the world.


1. Imagine the world. Before the game can begin you must imagine a possible world. The world is a temporary space, within which players can explore any set of ideas or possibilities.

2. Create the world. A game world is formed by giving it boundaries, rules, and artifacts. Boundaries are the spatial and temporal boundaries of the world; its beginning and end, and its edges; Rules are the laws that govern the world; and artifacts are the things that populate the world.

3. Enter the world. A game world can only be entered by agreement among the players. To agree, they must understand the game’s boundaries, rules and artifacts; what they represent, how they operate, and so on.

4. Explore the world. Goals are the animating force that drives exploration; they provide a necessary tension between the initial condition of the world and some desired state. Goals can be defined in advance or by the players within the context of the game. Once players have entered the world they can try to realize their goals within the constraints of the game-world’s system. They can interact with artifacts, test ideas, try out various strategies, and adapt to changing conditions as the game progresses, in their drive to achieve their goals.

5. Leave the world. A game is finished when the game’s goals have been met. Although achieving a goal gives the players a sense of gratification and accomplishment, the goal is not really the point of the game so much as a kind of marker to ceremonially close the game space. The point of the game is the play itself, the exploration of an imaginary space that happens during the play, and the insights that come from that exploration.

Imagine the world, create the world, enter the world, explore the world, and leave the world.

A knowledge game is a game-world created specifically to explore and examine business challenges, to improve collaboration, and generate novel insights about the way the world works and what kinds of possibilities we might find there. Game worlds are alternative realities, parallel universes that we can create and explore, limited only by our imagination. A game can be carefully designed in advance, or put together in an instant, with found materials. A game can take 15 minutes or several days to complete. The number of possible games, like the number of possible worlds, is infinite. By imagining, creating and exploring possible worlds, you open the door to breakthrough thinking and real innovation.

We are writing a book about knowledge games. What games are you practicing in your workplace? What kinds of experiences have you had? Please leave a comment and share them with us!

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Boundary matrix

Creating a boundary matrix, originally uploaded by dgray_xplane.

Boundary object is a term from sociology used to describe something that helps two disciplines exchange ideas and information, even when their languages and methods may be very different. Today I was in a call with a couple of colleagues, Lou Rosenfeld and Marko Hurst, who were describing a problem that’s very familiar to many of us — the problem of communicating and sharing work between disciplines that are very different. In the case that we were discussing today, one discipline was data analytics, which is very quantitative in nature, very data-driven, in contrast to the other, user experience design, which is primarily quantitative, design-driven. The problem is that the two disciplines think of their work very differently and use different language and tools to approach their work. In a paper titled Languages of Innovation, researchers Alan Blackwell and David Good identify the language problem involved in transferring knowledge from the academic world to industry:

“One might imagine the university as a reservoir of knowledge, perhaps contained within books and the heads of individual academics, from which portions of knowledge can be poured out into the heads of recipients outside the university walls. But which of the available languages might this knowledge be expressed in, and how might it be translated into the languages current in business, industry, government and public service each of which have their own lingua franca? Scholarship does not exist in any form independent of language, so the transfer of scholarly knowledge either takes place in the disciplinary language in which it was formulated, or must be translated.”

This is the challenge many organizations have in conveying information between disciplines, and Blackwell and Good have some very constructive insights in their paper, which I encourage you to read. The ideas in that paper, and the subsequent conversation with two colleagues about some very real problems they were having translating information between “data people” and “design people” resulted in the idea of the boundary matrix. Here’s how it works:

1. First, identify what information needs to be exchanged between the disciplines:

(a) determine what kinds of questions discipline X must ask to get relevant and meaningful information from discipline Y, and

(b) determine what kind of form the answer to the question from discipline X might take, if answered by someone from discipline Y. This could be a document or artifact that is ready and available, or it might involve terms that are specific to discipline Y. For example, a designer who wanted to understand user behavior might need to ask for search terms and click-through rates.

(c) repeat the above from the perspective of discipline Y.

2. From examining these exchanges you should be able to create two lists, one for discipline X and one for discipline Y. Each list element contains a brief description of the discipline-specific term and why it should be important to the other discipline. For example user behavior > search terms, click-through rates.

In the sketch above, these descriptions are labeled A, B, C, D for discipline X and 1, 2, 3, 4 for discipline Y.

3. Now look at your matrix and see if you can find how each cell relates to an area of strategic interest for your company or team. These interior cells represent the points where the disciplines intersect with larger areas of shared interest. If you can’t find the strategic connection that might indicate that the activity might have outlived its usefulness or could be of dubious value to the organization.

The completed chart is your boundary matrix — a “cheat sheet” for managers as well as people from disciplines X and Y, that will allow them to communicate more effectively and quickly navigate to areas of strategic priority or shared interest. This is a new idea and has yet to be tested but I think it holds real promise.

I suspect that the initial value to cross-disciplinary teams will be the conversations it forces about what each discipline does and why it is important to the other discipline, or the organization as a whole. The conversations themselves are an education and culture-building process that will lead to better collaboration, and the better those conversations, the better the boundary matrix that will result.

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Quaker Conversation

The collaboratory

It’s very easy for the dynamics of a group to undermine the potential value of bringing a group of people together. If the same people speak every time, there is always a contingent whose voices are not heard; in creative work, a perspective lost can mean valuable ideas are never heard and “group think” can set in. Getting the greatest diversity of ideas from a group can depend on making the space for as many viewpoints up front before the flow of conversation begins its process of natural selection, and conversation is a funny thing; setting a few rules can disrupt the habitual dynamic of the group to allow for different outcomes.

OBJECT of the GAME: To give all voices a chance to be represented in a group with a potentially wide range of perspectives.


The rules of the game are quite simple…

  1. Begin by posing a question to the group
  2. Each person answers the question in sequence – usually going around the circle, but if someone is not ready, they can defer their turn until later.
  3. Each person answers as fully as they need to in order to feel they’ve fully expressed their point of view.
  4. No one should respond to, rebut or rejoin the comments of others; each response should be only to the original question

Point number four can be a difficult one for many groups, but if gently enforced, it can really encourage the less vocal members of any group to voice their opinions. This can lead quite well into a follow-on conversation if someone has been recording some of the ideas or perspectives on a whiteboard. Using these elements as launching points allows for a more focused drill down on the ideas that may have resonated with the group.

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Show Me Your Values

NAME OF PLAY: Value Tease
Object of Play:
To unearth employee perception of the deep values that underly an organization, an initiative, a system-wide change, or any other topic.
# of Players: 5 – 10
Duration of Play: 30 minutes
How to Play:
Before the meeting, decide the topic around which you want players to share stories. Set-up a flat surface area in which you can write and they can post their images. Write the name of the topic in this area.
Provide the players with tape and several magazines of all genres—enough magazines for each player to rifle through three or four.
Tell the players that the goal of the exercise is twofold: First, they’ll describe in pictures what they perceive to be the values underlying the topic. Second, they’ll share a work-related story that’s indicative of those values. (Example: an image of a turtle may represent patience and longevity, so the player may share an anecdote in which an attractive but high-risk project was not pursued.)
Give everyone 10 minutes to cutout one or more images that represent their perception of the underlying values.
Ask them to tape their image(s) in the designated area and then quietly reflect on a story associated with the value(s) they represented.
Ask for volunteers to take turns sharing both their images and their associated story.
Pay attention as the players describe the values they perceive and write them in the space beside the appropriate image.
Go over the values you captured and ask the players to look for overlaps and gaps in their perception. Ask follow-up questions about the content and stories to generate further conversation. Let the group absorb and discuss the perceptions they share as well as those they don’t.

NAME OF PLAY: Show Me Your Values

Object of Play: To understand employee perception of the values that underly an organization, an initiative, a system-wide change, or any other topic.

# of Players: 5 – 10

Duration of Play: 30-45 minutes

How to Play:

  1. Before the meeting, decide the topic around which you want players to share stories. Set-up a flat surface area in which you can write and they can post their images. Write the name of the topic in this area.
  2. Provide the players with tape and several magazines of all genres—enough magazines for each player to rifle through three or four.
  3. Tell the players that the goal of the exercise is twofold: First, they’ll describe in pictures what they perceive to be the values underlying the topic. Second, they’ll share a work-related story that’s indicative of those values. (Example: an image of a turtle may represent patience and longevity, so the player may share an anecdote in which an attractive but high-risk project was not pursued.)
  4. Give everyone 10 minutes to cutout one or more images that represent their perception of the underlying values.
  5. Ask them to tape their image(s) in the designated area and then quietly reflect on a story associated with the value(s) they represented.
  6. Ask for volunteers to take turns sharing both their images and their associated story.
  7. Pay attention as the players describe the values they perceive and write them in the space beside the appropriate image.
  8. Go over the values you captured and ask the players to look for overlaps and gaps in their perception. Ask follow-up questions about the content and stories to generate further conversation. Let the group absorb and discuss the perceptions they share as well as those they don’t.



A notable benefit of using pictures to elicit values statements and stories is that imagery is simultaneously one step removed from a straight, verbal declaration yet one step deeper than what you may get when you ask players to share their “intellectual” thoughts. And using pictures gives the players a sort of comfort zone to express themselves, since they can choose pictures that represent the whole spectrum of comedy and tragedy around a topic. So if someone prefers truth through humor, they can find images that allow them to use it. And if someone else prefers truth through hyperbole, well, they have that option too.

As the group lead, realize that some players will think immediately of a value representing a topic and go hunting through the magazines until they find a suitable representation. Others will surf the images, looking for something that resonates with a vague notion they have in their minds. Either approach is suitable and you can discuss these approaches when you set up the play.

Most importantly when you introduce the game, encourage people to share the values they perceive as honestly as they can. Tell them that it’s okay to believe that an underlying organizational value is territoriality and to represent that with an image of a lion. Not only is this behavior appropriate, but it’s also desirable—since beliefs that drive behavior often go unstated in public but are repeated and spread through huddles within the organization. And as people share stories, if someone is having trouble thinking of a story to match their image, give them more time (or let them bow out completely) and let someone else offer a story. Often people will have stories triggered based on anecdotes that others share.

Finally, let people be creative with the storytelling section of the play. If two or more participants want to share a story together, encourage them to do so. They can even go so far as to role play an event that unfolded. Your job is to create a space in which people can say something that may be taboo but that everyone is thinking.

Fun, optional activity: Ask the players to cutout images that represent what the values are NOT. So if a player believes expediency is NOT one of the values around a project,  she may choose the aforementioned turtle as a representative image.

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“Design games” by Donna Spencer

Information Architect and Interaction Designer Donna Spencer practices knowledge games as part of her work. She calls them design games, which she describes as having these four essential characteristics:

1. They are fun, involving play to promote creativity.

2. They are hands-on, about making ideas real, not just talking about them.

3. They are useful, as opposed to the dreaded team-building exercise.

4. They are structured: they have goals and are planned so the goal is met.

Here’s a list of Donna’s design games:

The 4 C’s is a game that breaks down a problem into four quadrants: Components, Characteristics, Challenges and Characters.

Card sorting is a method for breaking down information into modular units and organizing the units into groups and subgroups.

Design slam is a way to quickly generate design ideas, and improve team dynamics, by breaking a group into small design teams.

Design the box is a game for thinking through features and benefits of any product or service. Design the homepage is a variation on “Design the box” to identify features and design ideas for a website or web application.

Divide the dollar is a game for apportioning features or resources based on value. It has some similar dynamics to Aaron Williamson’s Scenario Slider.

Freelisting is a method for quickly generating lists on a topic or category.

Idea Cards is a game for generating new thinking. It reminds me of Brian Eno’s Oblique Strategies card deck, which is also now available as an excellent iPhone app.

Reverse it! is a game that asks teams to solve the opposite problem as a way to finding novel solutions.

Role play is a way to work through and experience scenarios.

Scavenger hunt is a game for exploring the usability of a system or web site, where people are given a list of features or other elements to find in a limited time.

Here’s the full list of Donna’s games, with descriptions and a link to the site for more information.

What do you think? Have you tried any of these games, or something similar? What kinds of game-like practices have you employed in your work?

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Empathy Map

Empathy map, originally uploaded by dgray_xplane.

The empathy map, one of XPLANE’s methods for understanding audiences, including users, customers, and other players in any business ecosystem, has gotten some press lately because it was featured in Alex Osterwalder‘s excellent book, Business Model Generation as a tool for discovering insights about customers.

Here’s how it works:

GOAL: The goal of the game is to gain a deeper level of understanding of a stakeholder in your business ecosystem, which may be a client, prospect, partner, etc., within a given context, such as a buying decision or an experience using a product or service. The exercise can be as simple or complex as you want to make it. You should be able to make a rough empathy map in about 20 minutes, provided you have a decent understanding of the person and context you want to map. Even if you don’t understand the stakeholder very well, the empathy-mapping exercise can help you identify gaps in your understanding and help you gain a deeper understanding of the things you don’t yet know.

1. Start by drawing a circle to represent the person and give the circle a name and some identifying information such as a job title. It helps if you can think of a real person who roughly fits the profile, so you can keep them in mind as you proceed. In keeping with the idea of a “profile” think of the circle as the profile of a person’s head and fill in some details. You might want to add eyes, mouth, nose, ears, and maybe glasses if appropriate or a hairstyle to differentiate the person from other profiles you might want to create. These simple details are not a frivolous addition — they will help you project yourself into the experience of that person, which is the point of the exercise.

2. Determine a question you have for that stakeholder. If you had a question you would want to ask them, or a situation in their life you want to understand, what would that be? You might want to understand a certain kind of buying decision, for example, in which case your question might be “Why should I buy X?”

3. Divide the circle into sections that represent aspects of that person’s sensory experience. What are they thinking, feeling, saying, doing, hearing? Label the appropriate sections on the image.

4. Now it’s time for you to practice the “empathy” portion of the exercise. As best you can, try to project yourself into that person’s experience and understand the context you want to explore. Then start to fill in the diagram with real, tangible, sensory experiences. If you are filling in the “hearing” section, for example, try to think of what the person might hear, and how they would hear it. In the “saying” section, try to write their thoughts as they would express them. Don’t put your words into their mouth — the point is to truly understand and empathize with their situation so you can design a better product, service or whatever.

5. Check yourself: Ask others to review your map, make suggestions, and add details or context. The more the person can identify with the actual stakeholder the better. Over time you will hone your ability to understand and empathize with others in your business ecosystem, which will help you improve your relationships and your results.

Download the Empathy Map Canvas.

Click here for photos of empathy-mapping in action.

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Scenario Slider


After coming up with great ideas, the next challenge is figuring out the best way to make them happen. This exercise is one of many types of “scenario” games which can be used to test ideas and try out different approaches to bring them to life.

When having discussions about how to do something, we often get overwhelmed by all of the variables and reasons why it might not work, and can end up working in circles questioning our assumptions before we’ve even tested the idea. Setting stakes in the ground can clear the space we need to get down to it and discuss how to try something new under more specific circumstances…and doing it across groups helps to think through very different ways of doing the same thing.

OBJECT of the GAME: To get groups to model a business approach based on several extreme scenarios, using two to three variables.

WHEN to USE: After a brainstorming or prioritization exercise where a new idea, model, business or product has been selected.


  1. In advance, select two or three variables which would impact how your idea would be implemented. If it’s a project, it could be “money, people and time”.
  2. It’s helpful to set some context for your variables. Money could range from $10k to unlimited funds, for example, while time might be “done in 3 months” to “as much time as you need”.
  3. Set two or three different scenarios, adjusting the “sliders” in your three variables to a couple of possible extremes. Don’t be worried if this is actually the case in reality; playing with the extremes helps to find unexpected answers. One scenario might be “unlimited funds, all the people you need, must be done in three months.”
  4. Working with a number of groups in parallel, assign one scenario to each group. Ask the groups to come up with an approach based on that scenario. Instruct the groups to take the scenario as a given – don’t say it’s impossible in three months; tell us how you’d do it.
  5. Allow the groups to all share their work with the others, outlining their approach as well as explaining the tradeoffs and shortcomings based on the constraints of their scenario.
  6. Debrief as a large group to identify ideas that people agree should go forward, and which variables and constraints the group believes to be non-negotiable.

FACILITATOR NOTES: Getting the groups to produce something for the report out helps them crystallize their thinking and gives the broader group a something tangible to work with when debriefing. Getting them to draw models or doodles to illustrate their ideas can help get them focused on delivering a product.

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Show and Tell

Geneva workshop

While it’s enjoyable and worthwhile to discuss the ideas behind Gamestorming, it’s more useful to experience them. The image below represents output from a visual-thinking game that you can “play” with your employees.

Caution: Adults have a tendency to link Show and Tell to child’s play. This is a learning faux pas. It’s right up there with underestimating the value of doodling. And now we know what’s wrong with that: Take Note: Doodling can Help Memory.

OBJECT of the GAME: To get a deeper understanding of stakeholders’ perspectives on anything—a new project, an organizational restructuring, a shift in the company’s vision or team dynamic, etc.


  1. A few days in advance of a meeting, ask employees to bring an artifact for Show and Tell. The instructions are to bring something that, from their perspective, is representative of the topic at hand. If possible, tell them to keep the item hidden until it’s their turn to show it at the meeting.
  2. In a white space visible to everyone, write the name of the game and the topic. If you wish, draw a picture of either.
  3. When everyone is assembled with their show piece, ask for volunteers to stand up and show first.
  4. Pay close attention to each employee’s story of why she thought an item represented or reminded her of the topic. Listen for similarities, dif­ferences, and emotional descriptions of the item. Write each of these contributions in the white space and draw a simple visual of the item the person brought next to her comments.
  5. Summarize what you’ve captured in the white space and let the group absorb any shared themes of excitement, doubt or concern. Ask follow-up questions about the content to generate further conversation.

WINNING STRATEGY: Show and Tell taps into the power of metaphors to reveal players’ underlying assumptions and associations around a topic. If you hear a string of items that are described in concerned or fearful terms, that’s likely a signal that the employees’ needs aren’t being met in some way. As the team lead, encourage and applaud honesty during the stories and write down every point an employee makes that seems important to him or her. Keep the rest of the group quiet while someone is showing and telling.

As the group facilitator, if you feel intimidated by drawing a representation of a show item in the white space, get through it: attempt to draw it anyway and let the group tease you about your efforts. Show and Tell can be a vulnerable activity for employees—particularly the introverted type—so show some team spirit by being vulnerable in your leadership role.


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Fuzzy goals

Fuzzy goals, originally uploaded by dgray_xplane.

In industrial work, we want to manage work for consistent, repeatable, predictable results. Industrial goals are best when they are specific and quantifiable.

But in knowledge work we need to manage for creativity – in effect, we don’t want predictability so much as breakthrough ideas, which are inherently unpredictable. For knowledge work we need our goals to be fuzzy. In any creative endeavor, the goal is not to incrementally improve on the past but to generate something new.

New, by definition, means “not seen before.” So if a team wants to truly create, there is simply no way to precisely define the goal in advance, because there are too many unknowns. Embarking on this kind of project is akin to a voyage of discovery: you may begin your journey by searching for a route to India, but you might find something completely different, but even more valuable. At the beginning of such a project, the unknowns outweigh the knowns, and the biggest problem is finding the right questions to ask.

In a paper titled Radical innovation: crossing boundaries with interdisciplinary teams, Cambridge researcher Alan Blackwell and colleagues identified something they called the “pole-star vision” as an essential element of successful innovation. A pole-star vision is one in which the goal “motivates the general direction of their work, without blinding the team to opportunities along the journey.” One leader described his approach as “sideways management.” Important factors identified by the Cambridge research team include the balance between focus and serendipity and coordinating team goals and the goals of individual collaborators.

A fuzzy goal straddles the space between two contradictory criteria: At one end of the spectrum is the clear, specific, quantifiable goal, such as 1,000 units or $1,000. At the other end is the goal that is so vague as to be, in practice, impossible to achieve; for example, peace on earth or a theory of everything. While these kinds of goals may be noble, and even theoretically achievable, they lack sufficient definition to focus the creative activity. Fuzzy goals must give a team a sense of direction and purpose while leaving team members free to follow their intuition.

What is the optimal level of fuzziness? To define a fuzzy goal you need a certain amount of ESP: Fuzzy goals are Emotional, Sensory and Progressive.

Emotional: Fuzzy goals must be aligned with people’s passion and energy for the project. It’s this passion and energy that gives creative projects their momentum, therefore fuzzy goals must have a compelling emotional component.

Sensory: The more tangible you can make a goal, the easier it is to share it with others. Sketches and crude physical models help to bring form to ideas that might otherwise be too vague to grasp. You may be able to visualize the goal itself, or you may be able to visualize an effect of the goal, such as a customer experience. Either way, before a goal can be shared it needs to be made explicit in some way.

Progressive: Fuzzy goals are not static; they change over time. This is because, when you begin to move toward a fuzzy goal, you don’t know what you don’t know. The process of moving toward the goal is also a learning process, sometimes called successive approximation. As the team learns, the goals may change, so it’s important to stop every once in awhile and look around. Fuzzy goals must be adjusted, and sometimes completely changed, based on what you learn as you go.

Innovative teams need to navigate ambiguous, uncertain and often complex information spaces. What is unknown usually far outweighs what is known. In many ways it’s a journey in the fog. The case studies haven’t been written yet and there are no examples of where it’s been done successfully before. Voyages of discovery involve greater risks and more failures along the way than other endeavors. But the rewards are worth it.

I would appreciate your comments.