Archive for the 'Design' Category

A salute to Dick Bissell

For those who know his name, Richard Bissell probably has a mostly negative reputation, as the chief planner of the failed attempted invasion of Cuba at the “Bay of Pigs” in April 1961.  Put aside the fact that last-minute changes to the invasion plans (including a change of location) were forced on Bissell and CIA by the Kennedy Administration; after all, as Bissell himself argued in his memoirs, he and CIA could have and should have done more to resist these changes.  (There is another post to be written on the lessons of this episode for the making of complex decisions, a topic on which suprisingly little seems to have been published.)  Bissell ended his career as VP for Marketing and Economic Planning at United Aircraft Corporation, a post he held for a decade, although he found it unfulfilling after the excitement of his Government service.

Earlier in his career, Bissell was several times an administrative and organizational hero, a man who got things done.  During World War II, Bissell, working for the US Government’s Shipping Adjustment Board, established a comprehensive card index of every ship in the US merchant marine to the point where he could predict, within an error of 5 percent, which ships would be at which ports unloading their cargoes when, and thus available for reloading.  He did this well before multi-agent systems or even Microsoft Excel. After WW II, he was the person who successfully implemented the Marshall Plan for the Economic Recovery of Europe.  And then, after joining CIA in 1954, he successfully created and led the project to design, build, equip and deploy a high-altitude spy-plane to observe America’s enemies, the U-2 spy plane.   

Whatever one thinks of the overall mission of CIA before 1989 (and I think there is a fairly compelling argument that CIA and KGB successfully kept the cold war from becoming a hot one), one can only but admire Bissell’s managerial competence, his ability to inspire others, his courage, and his verve.  Not only was this a completely new plane (designed and built by a team led by Kelly Johnson of Lockheed, using engines from Pratt & Whitney), flying at altitudes above any ever flown before, and using a new type of fuel (developed by Shell), but the plane also had to be equipped with sophisticated camera equipment, also newly invented and manufactured (by a team led by Edwin Land of Polaroid), producing developed film in industrial quantities.  All of these components, and the pilot, needed to operate under extreme conditions (eg, high-altitudes, long-duration flights, very sensitive flying parameters, vulnerability to enemy attack).  And the overall process, from weather prediction, through deployment of the plane and pilot to their launch site, all the way to the human analyses of the resulting acres of film, had to be designed, organized, integrated and managed.  

All this was done in great secrecy and very rapidly, with multiple public-sector and private-sector stakeholders involved.   Bissell achieved all this while retaining the utmost loyalty and respect from those who worked for him and with him.  I can only respond with enormous admiration for the project management and expectations management abilities, and the political, negotiation, socialization, and consensus-forging skills, that Dick Bissell must have had.

References:

Richard M. Bissell [1996]:  Reflections of a Cold Warrior:  From Yalta to the Bay of Pigs.  New Haven, CT, USA:  Yale University Press.

Norman Polnar [2001]:  Spyplane:  The U-2 History Declassified.  Osceola, WI, USA: MBI Publishing.

Evan Thomas [1995]:  The Very Best Men.  Four Who Dared:  The Early Years of the CIA.  New York City, NY, USA:  Touchstone.

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The resonance of spimes

In 2004, Bruce Sterling coined the term “spime” for an object which tracked its own history and its own interactions with the world (using, for example, technologies such as RFID and GPS).  In Sterling’s words, spimes

“are precisely located in space and time. They have histories. They are recorded, tracked, inventoried, and always associated with a story. 

Spimes have identities, they are protagonists of a documented process.”

Spime wranglers are people willing to invest time and effort in managing the meta-data and narratives of their spimes. The always-interesting Russell Davies has been exploring the consequences of this idea for designers of commercial products.

Several thoughts have occured to me:

As with all new technologies, the future is unevenly distributed, and there have been spime wranglers for some artefacts for a very long time — for instance, for early industrial manufacturing technologies (eg, the 1785 Boulton and Watt steam engine (a diagram of which is above), in use for 102 years, and then immediately shipped by an alert wrangler to a museum in Australia in 1888) and for Stradivarius violins.  The service log books of motor vehicles, legally required in most western countries, are a pre-computer version of the metadata and narrative which a spime and its wranglers can generate. 

Secondly, spime wranglers, like lead-users, become co-designers and co-marketers of the product, because they help to vest the product with meaning-in-the-world.   Grant McCracken has written on the trend to greater democratization of meaning-creation in marketing.  (Note: I’ll try to find a specific post of Grant’s on this topic.)

Finally, it strikes me that the best way to conceive of the narrative and metadata generated and collated by a spime and, working with it, by the spime’s wranglers is through Rupert Sheldrake’s powerful (and sadly neglected) idea of morphic fields.   I hope to explore this idea, and its implications for quantitative marketing, in a future post.

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Nominal imperialism at IKEA

Apparently, Swedish furniture retailer IKEA has systematically applied Danish names to doormats and carpets, while keeping Swedish names for more expensive items of furniture.   If this pattern of naming is systematic as claimed, then it is hard to see how it could be accidental or inadvertant.  If the pattern was accidental, we should expect IKEA to issue a hasty apology for any unintended offence caused, to Danes or to others.  Instead, IKEA went on the offensive, with a spokesperson saying:

“these critics appear to greatly underestimate the importance of floor coverings. They are fundamental elements of furnishing. We draw worldwide attention to Danish place names with our products.”

Whatever the perceived justification, insulting your customers can never be great marketing.  One of the features of colonialism is a lack of appreciation for the feelings of the colonized.  Hundreds of years of condescension are manifest in those three sentences.  Danes have every right to be offended.

UPDATE (20081317):  Spiegel Online have now retracted their original news story (the retraction is at the same address as was the article), although it is not clear from this retraction that either the original allegation against IKEA or the quoted response from an  IKEA spokesperson are inaccurate. 

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We apologize for this delay in transmission . . .

. . .  ladies and gentlemen.  Our guest speaker has been unavoidably delayed.  While we await his arrival, please watch this short video.   It’s a re-creation of the titles to the movie “Star Wars”, as if done by legendary 60s designer Saul Bass:

http://www.youtube.com/watch?v=z25t-PQDn5A 

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