Tag Archives: culture

Regendering corporations

Here’s a blog-post transcription of a recent “tweet-lecture” by Jess Nevins about a paper titled “An Organizational Approach to Undoing Gender: The Unlikely Case of Offshore Oil Platforms”, which looks at the dangers of performative maleness (and ways of countering such) in “High Risk Organisations”such as oil drilling rigs. In short, the oil companies wanted to reduce the number of worker injuries, and did so by switching the cultural attitudes that ruled the workplace from rugged individualist machismo to a more cautious collectivism… which didn’t just change the company culture and safety record, but the emotional attitudes of the workers themselves:

Employees became comfortable sharing their problems at home with supervisors, as a way to help maintain group safety. One worker, first thing one morning, told his coworkers about his sick child and said: “This is what I’m dealing with at home. If you all would please keep me focused and understand if I’m a little distracted, I’d appreciate it.”

The authors: “Workers displayed raw fears in our presence, with no indication of shame.”

One inexperienced worker precipitated a shut-down because he followed the advice of his physically intimidating coworker. After error analysis “this exchange led to a larger team discussion about the need to guard against one’s potential to intimidate, however unwittingly, or to be intimidated.” Production goals on the rigs “were stated in relative terms rather than absolute numbers,” which workers saw as concrete evidence of the company’s concern with safety over profit and the bottom line.

One of the oil rigs made light of the mistakes by establishing the “Millionaires Club,” made up of workers whose mistake cost the company millions of dollars. “To become a member was not a source of shame, but rather a mark of being human.”

One worker described “how he had become less blaming and more attentive to others’ feelings” from the emphasis on learning from mistakes. “You realize you need to change when you see a look on someone’s face after they made a mistake like that–and you see the hurt. Because that’s something you don’t want to cause.”

[…]

The money quote:

“A man is a man when he can think like a woman,” which means “being sensitive, compassionate, in touch with my feelings; knowing when to laugh and when to cry.” The authors add that “several interviewees corroborated this view, offering definitions of manhood that similarly emphasized humility, feelings, approachability and compassion.”

Imagine, just for a moment what a country run by a government that had been “regendered”- not by swapping out all the men for women, but by redefining its goals – might look like.

In the final section the authors provide a theoretical how-to for undoing corporate gender. “By consistently putting collectivistic goals front and center, cultural practices anchor men to work goals that connect them to others. Men’s sense that others’ well-being is at stake in how they perform their jobs gives them a compelling reason to deviate from conventional masculinity when the work requires it.”

(Emphasis mine.)

I dare say there’ll be more than a few guys reading this and thinking it’s some liberal feminist plot to emasculate men. If you’re one of them, I invite you to read it again; the point isn’t that men need to act like women, it’s that there are clear benefits to everyone – at both the personal and organisational levels – when men act less like macho dicks.

And if that’s still sticking in your craw and making you want to shout at someone, then I think you’ve just provided your own confirmatory data-point.

Speculative entrepreneurship

Via Chairman Bruce, the next iteration of design fiction: fictional entrepreneurship.

Fictional Entrepreneurship is the use of design fiction to imagine businesses in order to discover what could be, creating things that are not impossible, but possible, often times derived from utopian, theoretical, and philosophical principles. Fictional entrepreneurship aims to author critical media through the creation of enterprises (imaginary, and real).

While reflecting on this definition, I have come to the conclusion that this concept is in no ways limited within the walls of academia, but can also be executed within a “practical,” corporate culture for the following reasons.

  1. Fictional Entrepreneurship is the design of business that begins with “what if…” in order to innovate the unimaginable.
  2. Fictional Entrepreneurship is an approach to business design which can serve as a tool for reaching new, almost impossible, demographics.
  3. Fictional Entrepreneurship is a a method that can be used by entrepreneurs to imagine the potential impact (good or bad) their business design can have on the world.
  4. Fictional Entrepreneurship is the ability to make the impractical practical.
  5. Fictional Entrepreneurship uses aspects of Design Fiction in order to work imaginatively while creating products and services that are not impossible, but possible.

I’m becoming increasingly convinced that science fiction isn’t dying at all; it’s metastasizing. When the world looks like an sf novel, sf is no longer novel.

Related: revisionist entrepreneurship. For instance, what would have happened if MySpace hadn’t been bought by Murdoch’s News Corp?

June 2005. Freston misses his flight. In the airport’s VIP lounge, he spots one of the News Corp M&A team. Freston tears back to his office and hand delivers the letter that completes the deal. Viacom, the owner of MTV, has just bought MySpace for $500m. The deal releases its co-founders, Tom Anderson and Chris DeWolfe, from Intermix, an unspectacular online retailer.

Viacom uses MySpace to redefine itself online. The site needs a complete engineering overhaul, and anything not related to music or entertainment is stripped out. MTV programming, bite-sized interviews, exclusive tracks and live shows are weaved throughout the site. “We want MySpace to keep its hacky, creative ethos,” executives might have said, “while making the site cleaner and less cluttered.”

A little Panglossian, perhaps – I think MySpace was already go-karting down into the trough of disillusionment at that point – but what you have there is a tech-biz journalist picking a comparatively recent and well-documented jonbar point and sketching an alternate history around it. See what I mean? Sf has metastasized; the cultural body is riddled with it, and it’s penetrating to the marrow.

And let’s not forget the increasing ubiquity – and ease of creation – of quasifictional characters, events, organisations, texts… Joanne McNeil of Tomorrow Museum looks at the Web of Misleading Things:

Remember the real reason for Friendster’s decline? It was the ban on “fakesters.” Friendster cracked down on user-created profiles for celebrities, places, and things, instead of embracing it as another slice of the bizarre in the spectacle of social networking. So people moved to Myspace, where non-person identities were encouraged. The site even provided space for bands and filmmakers to upload multimedia.

Now, everybody knew that’s not really Andy Warhol leaving testimonials on your page. But what about that person you know as tiny Twitter avatar? Robin Sage is a particularly interesting example (Quite a number of fictional online identities are in the image of attractive female hackers. I imagine this creates even more tension/skepticism toward women in these communities.)

[…]

So long as social media participation requires no public records or birth certificates, we are free to use these services to reinvent ourselves, regardless of what Mark Zuckerberg says.

Is there a more slippery term in the modern word than “real”?

Batman Incorporated and Kanye West: media homunculi

Here’s a super bit of cyborg-media-culture-identity riffing from Kevin Lovelace at grinding.be about the power of brands and/or identities (the difference between the two is getting pretty fuzzy) as prosthetic cyborg extensions of our selves. A post that mashes up Grant Morrison’s Batman Inc., Kanye West and open-source umbrella identities like Anonymous – what’s not to love?

By becoming a transmedia brand, the Batman gains the ability to clone itself and sent out its conceptual mind-babies out into the world, doing the work of Batman even in the actual absence of Batman.   Many people “know” Kanye via his body of work and his carefully sculpted public persona – a persona so information rich and media saturated that it can spawn its own meta-narratives.  Kanye West is the puppet of the Illuminati, and we can prove it!  He’s brilliant!  He’s insane!  He’s…  He’s a story.  The Kanye that 99% of the people reading this know is a story about a man who makes music – a narrative crafted largely BY the man who makes that music.  Its is a story with granularity and richness enough to allow many points of entry and engagement, spin-offs, theories and supposition.    The Kanye West we “know” is a prosthetic identity – an interface program that uses media as its computational substrate that exists between “us” the audience and the “real” Kanye (and his PR team) who operate the prosthetic.

Lots of connections to our earlier discussions of the ubiquity of narrative in an altermodern culture… we are all the stories of ourselves, but we can change the plot whenever we like, or even let other people write their own versions. Go read it.

When the going gets weird, the weird turn pro

Things are getting real weird real fast. Did you hear about the Germans who insisted on the right to “opt out” of Google Street View and have their houses pixelated? Well, now they’re being targetted by pro-Google activism that consists of drive-by egg-raids and labels stuck to letterboxes proclaiming that “Google’s cool” [via TechDirt].

Double-U. Tee. Eff?

For the record, I think the folk opting out of Street View are misguided, and the egg-raiders are idiots; no advocacy in this post, I assure you. But think a moment on the high weirdness of this situation, about the mad wild flux of global culture that has made it possible. Just a decade ago, this would have been a gonzo near-future sf plot that any sane editor would have bounced for being charmingly implausible…

I’m sure this is the part where I’m supposed to wonder “how did we get here from there?”, but that’s the weirdest thing of all – I know exactly how we got here from there, because I’ve made a point of watching it unfold like a card-sharp’s prestidigitation, but I still can’t quite tell how the trick was done: it’s hopeful and baffling and wonderful and insane and terrifying all at once.

And things are likely to get weirder as the times get tougherI’m starting to think Brenda may have a point; the Singularity’s already started, it just doesn’t look anything like the shiny transcendent technotopia we thought it would be. Which shouldn’t be surprising, really… but it still is.

[ * And a posthumous hat-tip to the late Doctor Gonzo for the headline, who I resolutely believe would be taking a similar horrified joy – or perhaps a joyous horror, if there’s a difference – in the headlines of the moment. We’ve bought the ticket; now we’re taking the ride. ]

Video games as journalism

Just a quick mention for another of those New Scientist CultureLab “Storytelling2.0” pieces; how about video games as a future venue for journalism?

Take, for example, Burger Tycoon. It’s what we call an editorial game: short-form, quickly produced and easily accessed online. These games critique current events and issues – in this case global fast food. In Burger Tycoon, players take charge of every aspect of a fast food giant: they raise soy and cattle in South America, curtail contamination in a meat-packing plant, scold frustrated fry cooks in a restaurant and devise ad campaigns at corporate headquarters.

Despite its cutesy graphics and simple mouse-click play, Burger Tycoon paints a striking portrait of how the business models of multinational food conglomerates can compel corruption. As costs begin to outstrip revenues, players look for new ways to make a profit: tearing down rainforests, stuffing cattle with antibiotics, bribing health officials. Like a political cartoon, the game is highly opinionated, but it presents its opinion through the rules of the game rather than through images and words.

[…]

Video games do not offer a panacea for news organisations. But they offer a truly new way for journalism to contribute to civic life by amplifying the how instead of the who. Video games offer models of how the world works and how it might be improved, rather than skin-deep stories about what ails it. That’s why the best journalism of the future might not be read, but played.

Interesting idea… Jonathan, I think we have a theme for your next column!