MGTpocketguide

a model is a representation of reality is a manifestation of a model is a representation of reality is a manifestation of a of
A pocket-size reference to the
MG Taylor modelling language

Contents
Models
Glyph Jisho
Axioms

Models
SCAN FOCUS ACT
APPROPRIATE RESPONSE
DESIGN BUILD USE
5 E’s OF EDUCATION
BUSINESS OF ENTERPRISE
CREATING THE PROBLEM
7 DOMAINS
SEVEN STAGES OF THE CREATIVE PROCESS
S’POZE
STAGES OF AN ENTERPRISE
THE LEARNING PATH: FIVE POINTS OF MASTERY
THREE CAT
VANTAGE POINTS
TEN STEP KNOWLEDGE MANAGEMENT PROCESS
FOUR STEP RECREATIVE PROCESS
DESIGN FORMATION

A Slice of
The following pages provide a quick
reference to the MG Taylor modelling
language. The sixteen models presented here
can be thought of as slices of reality, or vantage
points of perception. The Latin derivation, modulus, is
the diminutive of modus, which means measure, rhythm,
harmony. Of these three terms, "measure" is perhaps most
familiar, but the other two are more important to contemplate.
We're used to building models to measure things--the effect of
air pressure on the surface of a wing, or the profitability of a
corporation. We may not be so comfortable with ferreting out
models that divine the rhythm and harmony of the world
around and in us. Or if we are, we confine those models to the
realms of art, philosophy, essay, poetry. But the complexity
of the world--even the corporate world--is too deep to
be fathomed by measurements alone. Business is art
and the Enterprise should call upon the qualities
of rhythm and harmony inherent in art for
assistance to lead it into the future.
Reality

SCAN FOCUS ACT
SCAN FOCUS ACT
Scan Focus Act is one of the simplest
models to understand because it’s so easy
to see it working in real life. Wherever
you live, you can take a few minutes
and observe any number of living
things going through the
process in a clearly definable
manner. Lizards, house cats,
dogs, insects, and birds provide
excellent examples.
The model can be used as a design
template (e.g. for DesignShop events and
virtually any other project) or as a diagnostic
tool (e.g. after-action reviews to look for holes in
the planning and implementation process). Using the
model ensures that all stages of the process are accounted
for.

Scan means just what you’d imagine; looking about for different
options, or to gather information in a broad sort of way. Scan
also implies a vantage point of some sort from which to view.
The original meaning of the word means to climb or mount. In
the Scan phase we build conceptual, mental models.
Focus implies choice. The majority of the opportunities
presented by the scan are discarded in favor of only one or
several, which are scrutinized and evaluated more rigorously.
The models we build in Focus are more tangible expressions of
the conceptual models we built in Scan. At length a decision is
made and it's time to...
Act! This is the opportunity to see whether the models will pan
out as they become viable systems in their own right. If
discipline and imagination have been brought to the two
preceding stages, this stage should be successful.
Feedback. The result of an experience is fed back as learning to
the next iteration of the process. Feedback is termed positive if
the desire is to grow the system, and called negative if
homeostatic control or goal-seeking is the object.
The conventional way of thinking about the model is to proceed linearly from Scan to
Focus to Act and then cycle back to Scan via a feedback loop. There's a tendency to
imagine that any deviation from this process signals dysfunctional behavior, and that can
be true. Some people or enterprises have great ideas and can never bring them to fruition
(stuck in Scan). Or they may entertain a slavish, myopic view of annual plans and budgets,
thereby missing opportunities and hampering implementation (stuck in Focus). Perhaps
their days are spent "putting out fires" and they never seem to have time to innovate or
make systematic efforts to improve (stuck in Act). Or a lingering introspection promotes
timidity (stuck in Feedback).
The pace of the model varies greatly, and stages need not be of equal
length. Because of its fractal nature, it may actually be more accurate
to portray the model as shown on the left, showing each stage
embedding all others at all times. It also implies that there is no
‘correct sequence’ to the different stages of the model, nor is there
any limitation to how often a stage is visited.

APPROPRIATE RESPONSE
LIVI NG S YSTEM CAPABILITIES
FUNCTIONAL QUALITIES
EFFICACIOUS
PROPER
SCOPE
TRUE TO
NATURE
ANTICIPATORY
SUSTAINABLE
SELF-CORRECTING
The Appropriate Response model has six elements grouped
into two sets of three. It is really a gate that divides one
stage of the creative process from the next (see also:
Seven Stages of the Creative Process). It's a gauntlet of
rites of passage as an idea moves from vision to
building and use.
Its strength lies in the fact that it forces one to
think about how living systems are able to
anticipate, self-correct and sustain themselves.
While the individual units of a system need not be
alive (like molecules in a living cell), when all units
facilitate one another's work, reproduction,
assembly and repair, the whole can function as a
living system. There is no single unit that makes the
system 'alive', it is the relation between the compo-nents
that causes these attributes to emerge.
The Appropriate Response model is used as a ltering
tool in the Engineering stage of the Creative Process to test
various designs for tness before one, several, or a composite
of them is chosen for implementation.

Ecacious. This word suffers from infrequent use these days, but it's an
elegant term whose meaning fits the model superbly. It's defined as the
power or capacity to produce the desired effect. By contrast, the word
effective means having the intended or expected effect. The difference
lies in the use of the word power. An efficacious design exudes power
and this power is efficiently directed to yield predictable results.
Proper scope. This element contains the power inherent in the first
element. An excellent design should properly fill its niche and not strive
for too much, nor suffer from a timid presence. The boundaries of the
design must be clearly defined. By some combination of matter, energy
and information the solution is able to distinguish itself clearly from
other elements in its environment.
A design that is true to nature is composed of elements that support
one another, that do not conflict, and whose capabilities are mutually
requisite. A design should be elegant, all of its parts fitting together in a
pleasing fashion that makes people want to employ it.
Anticipatory. Designs, or solutions to problems are living systems. As
such, they must include the apparatus and processes necessary to use
models based on past experience, along with current data gathering to
make predictions concerning the future behavior of other systems in the
environment. At the lowest level, this serves survival; at higher levels,
anticipatory hardware and software enable systems to effectively
collaborate with one another to support both the homeostasis and
evolution of their collective ecosystem.
Self-correcting. Once a system can make predictions about the future,
it must compare these predictions with its current behavior and
implement changes to adjust its behavior to bring it into harmony with
its future models. In this sense it is bringing its vision of the future back
to the present.
Sustainable. Finally, a system must be able to survive birth, grow to
maturity, and reproduce itself. It must do this without depleting the
systems that support its growth, otherwise it will cause its own demise.

DESIGN BUILD USE
The Design Build Use model illustrates the
requisite relationship between design,
build and use. By adding all of the
feedback loops, the three aspects of the
process become interconnected
throughout the lifespan of the enterprise.
For this to be effective, the processes of
the three different entities must communi-cate,
collaborate, and dovetail their processes.
It also requires that the products of this
collaboration be stable enough to provide
day-to-day integrity and flexible enough to
allow radical, rapid redesign to fit the changing
needs of the user over time. It means that the
environment is never finished and that it is
constantly able to provide a just enough, just in
time solution. Things that are finished in our
emerging world are dead.
DESIGN
USE BUILD

Design. Create sketches, models, plans, schedules, and budgets
to convey a sense of the scope of the project in many different
dimensions. This is not done merely at the beginning of the
project, but as a sort of continuous process throughout the life
of the building. The design takes into account past and present
work process requirements, as well as the uncertainty
associated with the future.
Build. There must be a process for rapid execution of the design
that allows frequent adjustments to the realities of a build-out
and the changing perceptions of the user as the design unfolds.
The process and the product (space) must provide for this
speed throughout the occupancy so that the enterprise of users
does not have to waste time and talent in reconfiguring itself to
meet changing conditions.
Use. As the environment is used, it will change the processes
that take place within it. These changes, in addition to events in
the external environment will drive a demand for the work
space to adjust its function, and to do so rapidly. The design and
build capacities must always be readily at hand.
One obvious application for this model is in the Management Center, where
the environment is often radically redesigned within minutes to accomodate
the process taking place in it. The rapid flexibility and integrity of the space is a
primary feature that allows its users to radically compress the time required to
invent and deliver new enterprises and new products.
Design Build Use is also a powerful model to use when designing an event,
even though we frequently employ Scan Focus Act as the standard template.
Design Build Use calls for a slightly different, non-linear approach. The product
of a module is engaged with as designers, builders and users, with successive
modules iterating the design of previous ones.

5 E’s OF EDUCATION
EXPERIENCE
EXPECT
EXPLORE
EXEMPLIFY
EXPLAIN
This is the traditional representation of the 5 E’s of Education
model. Explanations and examples form the foundation of
education, tying current models and knowledge bases into
new ones. Experience raises the learner up to the level of
expectation. What leverages experience above expecta-tion
is the wedge of exploration: searching the unknown,
encountering the unexpected, uncovering the surprise.
The word exemplify was chosen instead of example to
remind mentors and facilitators in the education process
that to some degree they are the subject they teach--that
they are examples of the spirit of the subject. You exemplify
what you love. Mastering the spirit of the material is as critical
as mastering the mechanics.
The 5 E’s of Education is not a linear model. There is no fixed sequence, and elements of the model may be found
within another, such that we can think of the explanation of the experience, or the exploration of expectation.
When designing with the 5 E's, employ them as a reference rather than as a rigid template. If an event lacks one or
several of the E's chances are its benefits will be marginalized. In isolation, exploration is bewildering, experience
fatal, expectation disappointed, explanation confusing, and example unenlightening. Woven together, there is a
possibility of synergy.

EXPLORE
EXPERIENCE
(outside membrane)
EXPECT
EXEMPLIFY
EXPLAIN
A more fluid version of the model is shown above. In it, explanation and
example form the core. They are surrounded by a sac and membrane of
expectation. Beyond that lies another, larger area of exploration. The
membrane surrounding the entire model is experience.
It is clear that expectations exceed simple explanation and example. But
they also, clearly must fall short of exploration, with its hidden element of
the unknown and undiscovered. One of the keys to understanding this
model is to realize that experience enfolds it all. Even the act of hearing or
reading an explanation is an experience. If you imagine experience to be a
separate exercise from explanation, then the setting and force of the
explanations will likely suffer.
And experience should be crafted. A useful template for managing
experience is the 7 Domains model.

BUSINESS OF ENTERPRISE
In the traditional model, management is stuck in the
middle, at an intersection of conflicting needs. The
investor wants a higher return and a lower risk. The
producer wants higher pay or fee for service for less time.
The customer wants a higher quality product for less cost.
Since there's no way of rationalizing these conflicting
demands, management alternately focuses on one
constituent at a time. It's as if the three constituent groups
were seats on a Ferris Wheel going round and round, and
whichever group
happens to be at
the top gets the
priority.
CUSTOMERS
INVESTORS
MANAGEMENT
PRODUCERS
The investor provides capital to the
enterprise with the hope of receiving a
return on the investment, and a return of
the original investment as well at some
point in time.
The producer actually makes the product.
Producers are employees, vendors and
suppliers that make up the entire chain
required to create and deliver a product or
service.
The customer buys and uses the product.
Management provides the information
and communication hub between the
other players. At different times in history,
managers have focused alternately on
fulfilling the desires of one player or
another.

In the new Business of Enterprise model, companies act more like
living systems. Ecologies of organisations, or value webs, are in the
business of growing resources and making their webs larger.
Management no longer maintains all the connections. Instead,
CUSTOMERS
MANAGEMENT
INVESTORS
PRODUCERS
there is a whole web connecting
customers, producers and investors.
It's these many sub-networks that tie
the players more tightly together and
make them interested in their
shared fortunes. Constituents
may also play more than one
role. An individual could be an
investor, a customer and a
producer all at once,
and therefore have a
true stake in every facet
of the enterprise.
To leverage that
stake, the
individual must
also play a role in
the management
function.
The investor still provides capital
to the enterprise and gets a return
of and on the investment.
However, more and more investors
are also providers and customers.
The producer still makes the
product or creates the service. But
producers are more involved in
understanding how the company
works through programs like open
book management.
The customer still purchases and
uses the product. But customers
are also interested in how well and
ethically the companies are
run--they vote with their
investments. And customers are
included in production.
Management still balances the
business of the whole web, but
the management function is more
distributed. There is more
management going on, but fewer
managers.

CREATING THE PROBLEM
VISION
CREATIVE
TENSION
(TUG AND PULL)
THE
PROBLEM
CONDITION
Creating the Problem highlights a number of factors that are
important to consider when you go about creating
problems for yourself. First, current conditions are NOT
problems. Second, the difference between your vision and
current conditions drives the creative process, so do not
temper your vision with reason--create what you really
want to create. Third, share your vision, choose the
important elements, and work to create a
common vision that incorporates and adds to
the personal visions of your entire group.
And lastly, be very clear about what
the current conditions are. There is
no reason to deceive yourself here.
Current conditions are what they are,
not what you or others would like them to
be. By rigorously creating the problem
before you begin a creative process,
you will clearly define the parameters
of your work and will drastically
increase your chances of success.

These are the existing conditions before you begin the creative
process. Notice that these conditions, in and of themselves, are
merely conditions. They are not the problem. These conditions
are in constant flux and will change as the creative process
advances.
This is your vision for an ideal future state. In creating this vision,
take into account your personal experiences, insights and views
of reality.
The problem is created when you discover a gap between
reality and your vision for a new reality. The problem is neither
current conditions nor the vision. Rather, it is the discrepancy
between them.
The creative tension that comes into being when you decide to
resolve the problem is the interplay between vision and reality.
As the two tug and pull at each other, they will each change and
modify in an effort to reach a synthesis.
How many times have you found yourself fully immersed in a project, only to
discover that the real problem lies elsewhere and that you are treating only a
symptom? Often, what is put forward as a problem is only a condition (e.g. I
can't read). What makes a condition a problem, is the recognition that one's
vision does not match the current conditions. It is created from the discrepancy
between vision and condition. When one decides to resolve this discrepancy,
the distance between vision and conditions becomes a creative tension that
will drive the creative process to resolution. That gap will work to close itself. In
fact the distance between vision and conditions can be seen as potential
energy that, as the creative process brings vision and conditions closer together,
transforms into kinetic energy, driving the process with more and more
momentum as it nears completion. With that analogy in mind, it becomes quite
obvious that a limited vision, one that differs very little from the current
conditions, will have very little potential energy to begin with and will therefore
never get much creative kinetic energy. A more drastic vision, on the other
hand, one that differs tremendously from current conditions, will have tremen-dous
potential and kinetic energy.
This creative energy requires clarity on vision and conditions. Especially when
dealing with a group, it is imperative that the group develops a common vision
and a shared understanding of the conditions, such that the group can create a
collective problem that it can be united in solving.

7 DOMAINS
The 7 Domains form a system. While often explored in a serial
way, the domains in fact form a recursive web. Each domain
can be considered in the context of the others (e.g. The
Environment of Process Facilitation, or the Technical
Systems of the Body of Knowledge).
A frequently asked question is why there is no
People domain. The answer is that people are not
resources to be managed. People collaboratively
manage the 7 Domains to achieve together what
they cannot achieve separately. The full title of this
model, Managing the 7 Domains of Collabora-tive
Design, reflects this. Once people focus on
managing each other, a false sense of control is
substituted for the powerful properties of collabora-tion.
When we look for machine-like predictability
from people, we deny and sacrifice the organic,
dynamic qualities that enable synergy and true homeos-tasis
to emerge. Therefore, the 7 Domains do not include
people as resources, nor are they focused on the manage-ment
of people.
BODY OF KNOWLEDGE
PROCESS
FACILITATION
EDUCATION
VENTURE
MANAGEMENT
PROJECT
MANAGEMENT
TECHNICAL ENVIRONMENT
SYSTEMS

The Body of Knowledge is the sum total of information and
information about how to get information that the system
requires to remain viable, to improve and innovate.
Process facilitation is like negative space in a painting or
drawing. It includes the philosophy and methods for removing
obstacles and clearing paths so that processes within the system
flow naturally and efficiently.
Education stands for the processes and methods by which the
system learns: how it explores, experiences, gathers explanations
and examples, and how it sets cybernetic expectations. (see also
the 5 E's of Education)
The physical, emotional and metaphysical field within which the
system plays its role. But the system is not merely subject to the
Environment--it creates and is created by it.
Technical systems are artifacts created and employed to amplify,
modulate or attenuate the other domains so that the system can
be internally and externally requisite and cybernetically responsive.
Project Management is the philosophy, culture and methods
employed by the system to efficiently allocate resources and
monitor energy flow in the pursuit of finite, temporal objectives.
Venture Management includes the philosophy, culture and
methods employed by the system to determine (not just
manage to) its cybernetic homeostasis and engage in complex
activities designed to explore unknown opportunities for growth
and transformation.
It's often useful to create a matrix out of several of the models together.
The 7 Domains goes nicely with the Vantage Points and the Creative
Process models. You'll notice in the glyph definitions the frequent use of
the words philosophy, culture and methods. Philosophy and Culture are
the two broadest levels of vantage points. Methods refers to the Policy,
Strategy, Tactics, Logistics and Task levels of the model.

SEVEN STAGES OF THE CREATIVE
PROCESS
Seven Stages of the Creative Process is one of the
oldest of the MG Taylor Models. The original render-ing
was done by Matt by hand and is extremely
rich in meaning and detail. It shows four levels of
recursion, beginning with the bipartite division
between subjective and objective; creating
the problem and solving it; individual and
collective. It continues with the seven stages
arranged so that the Insight stage is divided
by the bipartite model beneath it. Each of the
seven stages is further divided into six
components, and these are divided into
another seven pieces. The diagram clearly
identifies and classifies 294 stages of the
creative process at this deepest stage.
This model has links with Scan Focus Act, Vantage
Points, Creating the Problem, and Appropriate Response.
IDENTITY
VISION
INTENT
INSIGHT
RING
ENGINEERIN
INS
USING
BUILDING
B

Identity is about exploring, discovering, and understanding how
the system produces the conditions. Using techniques of collabo-rative,
creative design, the system is viewed from different vantage
points. By exploring different perspectives a richer perception of
the system is obtained, and assumptions confronted.
A vision needs to address the new system at all of the Vantage
Points, from philosophy to task. How do you envision the system
working in the future? By building working simulations of new
systems, alternatives are explored along with their effects. This
makes clear how belief structures relate to the the system.
Intent is the well of energy that you'll return to over and over
while you're working to bring your vision to the present. How long
can you live with the ambiguity and paradox of working in two
different worlds?
Insight. Usually, your vision brings with it lots of unknowns an
gaps in understanding. The problem is not how to fix the
conditions. It is how to imagine, design and allow for the evolution
of new components of the system (or new systems) that will help
the system create better conditions.
Engineering is about designing and testing the vision(s) in cycles
of rapid design, testing and failure in order to ferret out the more
resilient designs. At each engineering failure, the designers must
retreat to the Intent well to gather more resolve, push through for
the next Insight, and test it in Engineering until an idea survives
well enough to proliferate on its own.
The Building stage works hand in glove with the previous one --
nothing can be engineered without being built.
At the Using stage, the idea has been manifested, and the system
is now producing new conditions. All of the people in the
enterprise participate in the system, and can now truly evaluate
whether the new conditions are better than the old ones. Of
course, in the process of using, they all develop attachments and
dependencies on the system as it is. The cycle begins over again
with Identity.

S’POZE
ENCOUNTER
NEW NFORMATION
PARADIGM
S’POZE
INCORPORATE
S'poze links the creative process inherent in Scan Focus Act
with the knowledge management process of the Ten Step
Knowledge Management model. S'poze deals directly with
the management of information as a whole in the total
messaging event. Like Scan Focus Act, this is a naturally occurring
model; we all use it every day. Our purpose in studying it is not so
much to learn to incorporate it into our inventory of processes but to
raise its activity to a level of conscious awareness.
Strategies for Playing S'poze
It may seem from looking at the model that the activity of
S'poze is played outside of the host system, in some safe,
confined area. This is not the case. S'poze is played in real life
only with an element of risk. At the minimum, the activity
will consume time and divert attention. It's always possible
that when new information is admitted to a system it will
behave in a viral manner, disrupting the organism's homeosta-sis.
S'poze is always played inside the enterprise, even if in a safe, protected area, such as a planning session. S'poze
doesn't happen somewhere out there. Nevertheless, playing S'poze is required for the organization to continue to
learn, and also to spawn offspring that can successfully adapt to changing conditions in the wider ecosystem.

At the Encounter stage, the system's current Paradigm meets up
with a high information messaging event. This means, simply, that
the system is experiencing the effect of New Information that does
not fit into its current model of how things work--its Paradigm. And
it means that the potential effect of this information is of such a
magnitude as to compel a conscious decision for handling it.
(New) Information is the result of a system's interpretation of a
message, including whatever meaning it assigns to the message
based on past experience. The message itself is neutral. The measure
of information is proportional to its uncertainty: the more surprising
the message, the more information it contains.
For a living system to make decisions, it must be able to compare
the nature of sensory input that it receives to some model that
predicts probable future outcomes based on stored previous
experiences involving that input. The sum total of these situations
and the guidelines stored in the system comprise its Paradigm.
S’poze. It is not advisable for a system to accept any and all New
Information to add to its Paradigm. The process of modeling enables
the system to play what if without actually engaging in a
potentially threatening experience.
If the results of the simulation seem favorable, the system may
incorporate the New Information into its Paradigm and begin
making decisions based upon this new mixture.
The Case for S'poze as a Linking Model
Imagine the Creative Process as a huge playing board, with its seven circles
representing the zones of play. Further, imagine the enterprise as a
knowledge management engine, continuously running through cycles of
events, documentation, storage in a K-base, distribution, design. In each of
the stages, the enterprise can use S'poze to handle new information in a
robust way. The entreprise also uses S'poze to process information in the
transition from one stage to another. So not only must the enterprise be
designed to manage the Ten Step Knowledge Management process, but it
must employ the S'poze model to manage new information processing
and learning within each stage of the Creative Process and between
stages as well.

STAGES OF AN ENTERPRISE
OVERSHOOT COLLAPSE
LOOPING SUCCESS
Green stands for times of stability and
success. Orange stands for warning. Red
indicates behavior far from homeostasis,
which if allowed to continue, will lead to the
death of the system. Blue represents times of
flux around the entrepreneurial button.
MATURITY
TURNAROUND
DEATH
ENTREPRENEURIAL
BUTTON
CONCEPTION
Stages of an Enterprise illustrates the life cycle of an enterprise or venture. After
Conception, ideas go through a Looping stage of alternating success and
near collapse before they become viable--capable of separate existence.
This marks the Success stage: the enterprise understands as an
organism how to maintain its metabolism, and how to grow. If the
enterprise does not learn how to maintain homeostasis, it may
overshoot its envelope of healthy growth and then rapidly
collapse upon itself. Newly conceived ideas within an
existing Enterprise, cannot become viable unless the
Entrepreneurial Button is pushed. There must be an
overt recognition of the need for and value of the new
idea or it will not be allowed to grow. In Maturity, the
Enterprise passes through probably its longest and
most stable stage. This is also the most favorable time
for spawning new enterprises. In time, ventures lose
their ability to maintain homeostasis and begin to
collapse. Usually this is due to a reduced ability to
respond to or anticipate external or internal rates of
change. Careful crafting allows the organization to make a
Turnaround to the Maturity stage. Eventually all organizations reach their demise
(Death). Usually this is good. Sometimes it's the easiest way for the enterprise to
allow new ideas to escape and try for viability. And even if the name of the corpora-tion
does not change, sometimes, its old self dies and a new one is born in its place.

Innovation versus Improvement
Below is another modification of the model. In this case, instead of showing a
peak at the Success stage which falls off to a lower Maturity plateau, the curve
continues upwards at a gentle slope (blue), representing continuous improve-ment
in the enterprise. To make a big leap of innovation, the Entrepreneurial
Button must be pushed. This can mean the birth of an entirely new entity,
unencumbered by the structures and culture of its parent, resulting in
innovation (green) for the new entity. The
parent may go on to struggle for quite a while,
unable to transform itself from within. It can also
mean that the parent organization undergoes a
metamorphosis or rebirth, resulting in the
intergenerational enterprise trajectory (red)
which shows the parent organization making
steady improvements and then leaping to a
new level of innovation.
Pushing the Enterpreneurial Button
The Entrepreneurial Button is not simply a zone where transformation just
happens. Pushing the button is a conscious decision. Much of the conceptual
work will already have been done. The new idea will have passed through some
looping already before the decision is made to launch it. An idea can be so
powerful that it may seek out other people to launch it if no one in the parent
organization is interested. Pushing the button may be a trigger point in moving
the new idea/organization from Scan into Focus (see Scan Focus Act).
The Entrepreneurial Button can be thought of as a membrane of sorts. It's both
an incubator and crucible within which the new idea will be nourished and also
besieged. It's most vulnerable at this point. Before entering the button, the idea
is just an idea, but pushing the button sanctions it,
making it a real opportunity or threat to some. Once
it's out of the top side of the button's membrane, the
idea has become a viable enterprise, capable of
fending for itself. Only while it's in the membrane does
it need special support and defense. This is an
important point to keep in mind when designing
DesignShops!
ACT
FOCUS
SCAN
NOTE: The button doesn't occur at some predetermined location in the model,
although there are more or less favourable times--one of the most favourable being
the period of maturity, just after success.

THE LEARNING PATH
FIVE POINTS OF MASTERY
Our human Learning Path begins at birth. From
infancy, the learner embarks on a course that
nourishes the innate love for exploration and
FACILITATOR
GUIDE
discovery. A community expecting life-long
learning and life-long contributions from its
members acts to remove whatever blocks
this natural process of growth.
Just as every individual is unique, every
learner's learning path is unique. We visualize
these through a five part life learning model
we call the Five Points of Mastery. Each
individual, formally and informally, moves in and
out of these roles throughout their life, gaining a
level of mastery of each, as appropriate to his or her
life stage. Moving between roles, responses change,
responsibilities change and opportunities for growth
change. Educational plans are conceived, developed, planned
and executed with these changing roles in mind.
LEARNER
SPONSOR
ADVOCATE
ADVISOR
STEWARD
EXPERT

The Learner is an explorer, innovator, self-developer,
model-builder and action-taker who is receptive to ideas
and guidance, able to reflect and act creatively, learns how
to access information and create value from it for oneself
and for others.
The Facilitator-Guide helps others frame their experience,
by providing perspective, encouraging further exploration,
guiding discussion and removing blocks to the creative
process. The Facilitator crafts and delivers challenges that
spark individual and team innovation and provokes
Learners to break through imagined limits.
The Sponsor-Advocate-Advisor provides the feedback
and boundaries that ensure the learning path is effective
and balanced. The Sponsor provides continuity and
perspective. The Sponsor's challenge is to optimize the
performance of the individual Learner's network.
The Expert develops specialized knowledge to a high
degree in a given body of knowledge and is a resource to
others. Everyone has expertise to share.
The Steward applies talents and knowledge in service to
others--in stewardship of the community and ultimately of
the world. Stewardship means holding a vision for yourself,
your community, and your world, and being committed to
actualizing that vision. Stewardship arises from the
philosophy that all life is sacred rather than everything is
a commodity.

THREE CAT
REAL CAT
The Three Cat model is a metaphor for information management in the act of
creation. It may be easily played in a glass bead game with any number of other
models, particularly the Seven Stages of the Creative Process. On the simplest
level, the model summarizes the acts of observing reality, forming a concept,
and testing that concept by building a model to reveal our understanding.
The model is then compared to reality for verification, the concept is
adjusted, the model rebuilt, and so on.
MECHANICAL CAT CONCEPT CAT
Real Cat stands for objective reality. Actually, we don't really ever see
Real Cat. The information gathered through our senses is
incomplete, so there's always more to learn. As we observe Real
Cat, we create a Concept Cat to use as aids in decision making.
We learn to associate current phenomena with past occurrences
of similar phenomena. We make decisions based on projections
of past behavior onto the current situation. In order to test our
concept, we create physical models (Mechanical Cat) and
compare them to reality. The artist paints; the engineer builds scale
models; the business person turns to planning software and spread-sheets;
the writer composes stories.
There are two lines that connect any two cats. One line is a squiggle and the other has a triangle in the middle of it. The
squiggle is the symbol for a resistor in electronics and refers to the attenuation of information traveling in that direction.
The triangle is another symbol borrowed from electronics--an amplifier.

The Uses and Abuses of Two-Catting
The model works great when it's employed with attention, craft and
discipline. When one of the cats is removed from the iterative process,
there is potential for both great value and danger. Because there are three
cats in the model, there are three possible combinations of two-catting.
Real Cat-Concept Cat
Greatest value: When our lack of skill in building mechanical models
hampers the formation of the concept, focusing on observation can help
to establish a good mental model.
Greatest danger: This practice allows unsubstantiated assumptions and
errors to accumulate, as the validity of concepts remains unchecked.
Concept Cat-Mechanical Cat
Greatest value: Sometimes it's good to just do a core dump and tweak a
model. Sometimes it's too expensive to return to the real cat over and
over again to improve the concept. It is also a great tool for building a
working model of your assumptions. Such a model can be used diagnosti-cally
to discover any holes, inconsistencies or errors in your concept.
Greatest danger: Without any reference to reality, it's easy to build up a sort
of nonsense, fantasy world. In extreme cases, it's possible to believe that
the Concept Cat is the Real Cat.
Mechanical Cat-Real Cat
Greatest value: Once we believe something about reality, it can be difficult
to change. Eliminating Concept Cat from the equation can be useful in
these circumstances. One technique for this is suspending judgment
when testing a model with reality--especially a priori judgment.
Greatest danger: Without engaging Concept Cat, we don't learn. No
thinking involved. No growth potential.

VANTAGE POINTS
STRATEGY
LOGISTICS
TASKS
TACTICS
The Vantage Points model looks like a topographic map
with the boundary between each vantage point
CULTURE
POLICY
representing a contour line. Whether you view it
as a mountain or a valley is up to you(r
PHILOSOPHY
purposes). On the one hand, you can
never understand the philosophy of a
system or enterprise until you are
immersed in the tasks that comprise
its daily functions. The task provides a
mental elevation from which the
whole essence of the system can be
contemplated. By observing people
performing various tasks, by sensing the
atmosphere, energy and ethics of the
environment, one can determine the true
expressed philosophy of any organization. On the
other hand, sometimes immersion in daily tasks can
blind people to culture and philosophy, or cause them to
accept it too casually. From the bottom of the valley, the higher planes become progressively difficult to see and there
is danger of accepting philosophies as truth on the basis of precendent behaviour. Philosophies accepted as models
can be mastered, evaluated, and exchanged based on experience and exploration (see the 5 E's of Education).

Philosophy: the fundamental--usually hidden--beliefs that unite
the components of an Enterprise, enabling them to act as a
cohesive whole. Properly applied, philosophy enables both
innovation and stability.
Culture defines the various components of the Enterprise and their
relationship to one another in action. Culture also encompasses
standard behaviors of these components--behaviors which are
manifestations of the Philosophy.
At the broadest level, Policy refers to statements of purpose, intent
and goals. At a narrower level, Policy can specify boundaries on the
design and prosecution of Strategy, Tactics, Logistics and Tasks.
Policy states the rules of the game.
Strategy is the organization, disposition and direction of large scale
forces over space and time to achieve the objectives of Policy,
maintain homeostasis in a competitive and cooperative environ-ment,
and manage growth. Also the set of recognized patterns of
play known or suspected to produce favorable results when
implemented.
Tactics is the art of matching the resources of Logistics with
Strategy and deploying these effectively and efficiently in the game.
Logistics comprises all issues concerning resources, energy and
knowledge, and the mechanics of their distribution and storage
throughout the Enterprise.
Tasks: the work to be done and how it's actually done. Chopping
wood and carrying water. The way a tool is used and treated, of
course speaks plainly of the philosophy and culture of the user.
The seven Vantage Points hold mutual, feedback-driven influence over one
another. It is possible to change one plane through one of the others. In fact, real
change cannot be achieved without involving the other planes. The Vantage
Points are meant to be managed and designed--used as templates and
auditing tools. The Vantage Points break down into three overlapping zones for
special types of management emphasis. Design and manage...
...Philosophy, Culture and Policy to steer evolution.
...Policy, Strategy and Tactics to steer operational and structural support.
...Tactics, Logistics and Tasks to steer the work to be done.

10-STEP KNOWLEDGE
MANAGEMENT
The outside resources,
departments and related
projects are represented
by the Business of Enterprise
model. This is not entirely
accurate, as the entire 10-step
process takes place within the
enterprise. In fact, there are
hundreds of little 10-step models
inside it, their webs connected to
each other as well as to the
environment.
DOCUMENTATION (2)
EVENT (1,10)
K-BASE (3,7)
TRACKING SYSTEM (5)
READ
AHEAD (9)
DESIGN (8) FEEDBACK (6)
DISTRIBUTION (4)
OUTSIDE RESOURCES
INDIVIDUALS AND DEPARTMENTS
RELATED PROJECTS

The 10-Step Knowledge Management model is a way to visualise the
way knowledge flows and is managed within a system. The cycle begins
with an Event--some process undertaken by one or several Knodes
(Knowledge Nodes) that produces information. The information is
captured, encoded in the form of a message (Documentation), tagged for
shipping, transduced across the Event membrane, and transferred via some
signal, medium, and channel to the Knowledge Base. The K-Base serves as
a repository, or data warehouse, and router for messages in the enterprise.
The documentation is repackaged, encoded, transduced, and transmitted
(Distribution) across the Web (Enterprise) to all parties that need the
information as potential Compelling Input. Tracking records the condition,
origin and destination of each message that crosses the K-Base membrane.
It creates a history of the use of the K-Base. Knodes transmit information
back to the K-Base concerning any State Changes they have experienced as
a result of receiving and processing the original information (Feedback).
The K-base stores the feedback. The original information and the feedback
are used to Design the next iteration of work--the facilitation of the next
event, or process. A Read-Ahead is advance information transmitted to the
future event's participants to allow the system to ramp up for the event,
instead of climbing the wall. The cycle ends as it begins with another
Event.
Note that the K-Base is embedded within the tracking system ring. This
means that any message-bearing signal that enters or leaves the K-Base
domain is logged--not just those from the distribution stage. Some
information is also passed directly from one step to another without
passing through the K-Base. In fact, the vast majority of information in
practice is either passed directly from one step to another or lost from the
system altogether. Enterprises and other living systems survive by manag-ing
a small amount of the data that arrives at their senses, converting it into
information and applying it experientially as knowledge.
The model can be applied to an enterprise as well as a human being, or a
project team. When we design an event for a group, the 10-Step Process
will be used many, many times at different time scales. From quick snatches
of conversation in passing to the documenting of the entire DesignShop
event in a Journal. We want the design of the event to facilitate as many of
those events between Knodes as possible, to encourage and preserve the
integrity of the knowledge management process, and to stimulate it to
deliver high-edge content as well.

FOUR STEP RECREATIVE
PROCESS
Create a vision for what you want to create.
Create a template for your creation, in
words, symbols, pictures, 3D, or some
other physical medium. This template
should represent your vision and be able
to communicate its essence to others.
Act. Make the creation real. Take the
necessary steps to bring it into the world.
Feedback. Discover how well the creation
performs in the world. Does it fulfill your
vision? How do others like it? Does it
inspire new visions in you or in others?
Between each of the steps, you must
recreate what it is you are trying to do
given the different and unique parameters
of each of these different steps.
FEEDBACK
ACT
CREATE VISION
DESIGN TEMPLATE
RECREATE
RECREATE
RECREATE
RECREATE

How do you create what you want to create? How do you share your vision
with others to allow them to help you create what you want to create? How
do you measure the success of what you have created? These are the
questions that the Four Step Recreative Process model addresses. This
model is related to the Seven Stages of the Creative Process model--each
highlights different aspects of the same process. As ideas travel from
metaphysical to physical reality, they are expressed in different forms.
Through (these) iterations, they are transformed.
The distiction between these two models lies in the fact that an idea does
not smoothly evolve through (the seven stages of ) the creative process; it
transforms through re-creation at each of the major transition points along
the path. This recreation is forced by many factors. Primary ones are
iteration: the feedback to an individual or group of their own work (as an
output) - from self or from others - and how this effects their concept,
intension and subsequent work; recursion: the passage of time and (as an
input) the ongoing influences from new, self induced thoughts, from
colleagues, society and stimuli from the world at large; and, in most
projects, the form a work takes as a natural consequence of development,
modeling, communication and testing.
In the traditional version of the model on the previous page, the four steps
form a cycle. Because each step is a fundamentally different creature, you
must recreate what it is you are trying to do between each of the steps. In
a dynamic version of the model (below), recreation forms the centre out of
which each stage is launched and back to which each stage returns before
being recreated into the next stage.
The model is fractal in
nature--the entire model
is contained in each of
its steps. During the
template creation phase
for example, one creates a
vision for the template, a
template for the template, one
acts to bring the template into
existence, and gathers feedback
on it to establish if it is appropri-ate
for conveying one's vision.

DESIGN FORMATION
PRODUCTION
MANAGEMENT
CONTRACT DOCUMENTS
DESIGN
DEVELOPMENT
PRELIMINARY
DESIGN
SCHEMATIC CONCEPT
PROGRAM
EVALUATION
Design Formation is the grandest symphony
among all of the models. Like the other models, it is
fractal in nature. It also incorporates many of the
previous models (5 E's of Education, The Learning Path,
Seven Stages of the Creative Process, Design Build Use,
Stages of an Enterprise). Because the model is so concep-tually
rich, this brief description can only provide a mere
glimpse of its complexity*.
Design Formation represents a variant of a process
employed by architects and builders the world over, yet
also applies to design and facilitation of change by the
Transition Manager. It includes the following elements:
• Bringing intention to the process of invention
• Asking the question, what is it that asks for shape and
form
• A shared sense of exploration, surprise and discovery
among all the members of the design team
• A process of bringing something into being
• The actual thing brought into being
• A model about modelling
*Interested readers can find a more elaborate
description on www.mgtaylor.com.

The preliminary design represents the first serious tug and pull between
program and product. Facilitate this part of the process so that both the
program and the design are challenged, leveraged above their own
expectations and transcend competition. At this point it's probably clear to
someone that the execution of the project is impossible. Don't attenuate
the design based on such an assumption. The belief that something is
impossible is a sign of ignorance. Employ this sign as a tool to build a more
robust body of knowledge. Learn. Create new experiences instead of
relying only upon past experiences. During design development,
constantly hold the field of the pure intent of the program. By this time, if
you've facilitated properly, the program is very powerful and can overcome
any obstacles because the co-designers will be living in the vision. Bring
the art and skill of whatever specific design elements you're working with
to the vision; don't compromise the vision to suit the current skill level.
Invent new tools. Invent new skills. Facilitate the contract documents stage
to the deepest level of understanding and commitment from the extended
team that you can. The details should prove beyond a doubt that the
program is attainable--regardless of the difficulty. Production management
brings about the most tangible result of the entire process. As the result
takes form it will undergo rapid, just-in-time modifications. Embrace the
speed, energy and vibrancy of this process. The evaluation allows everyone
to pause at any time during the process to contemplate, reflect, move
around in the new intangible or tangible space that they are creating
together, and gather resolve to push forward.
Move between the stages as necessary. Avoid linearity. Visit evaluation
frequently. Remember that the model (like all of the models) is fractal. There
is a production management component to the program and a program
component to production management. There is a level of commitment or
contract documents that needs to be brought to each stage. Schematics
can always play a role to help uncover solutions rapidly and identify strong
patterns without confusion.

Glyph Jisho
A glossary of the glyph language
used in the models

To examine a small area closely. To look a wide area
over quickly but thoroughly. To search to analyze
rising and falling rhythms in verse. To climb, mount.
SCAN
A point to which something converges or from
which something diverges. To adjust for distinct-ness
or clarity. Fireplace, hearth.
FOCUS
The process of doing or performing something. An
enactment or decree. To drive to do. To push, propel
or push forward.
ACT
The return of a portion of the output to the input,
especially when used to maintain the output within
predetermined limits.
FEEDBACK
Glyph Jisho

Glyph Jisho
The power or capacity to produce the desired
effect. Ability to achieve results. To execute,
make; perform, work out. To effect.
EFFICACIOUS
Breadth or opportunity to function. The area
covered by a given activity or subject. Watcher,
goal, aim.
PROPER
SCOPE
The forces or processes of the physical world,
generally personified as a female being. The
order, disposition and essence of all entities
composing the physical universe. The
aggregate of a person's instincts, penchants
and preferences. To be born, birth.
TRUE TO
NATURE
To feel or realize beforehand; foresee. To act in
advance so as to prevent; prejudice; forestall.
To foresee and fulfill in advance. To cause to
happen in advance; accelerate. To take before.
ANTICIPATORY
Able to realign itself to an equilibrium; able to
maintain homeostasis. Correcting or
compensating for one's own errors or
weaknesses.
SELF-CORRECTING
A method of harvesting or using a resource so
that the resource is not depleted or
permanently damaged. The ability to be
maintained, supported, upheld, or endure.
Latin: sustinere (tenere, to hold; sub, up).
SUSTAINABLE

Glyph Jisho
To conceive, invent, contrive. To form a plan for. To
draw a sketch of. To have as a goal or purpose;
intend. A visual composition; pattern.
To mark out; sign out.
DESIGN
To form by combining materials or parts; to erect;
construct. To give form to according to a definite
plan or process; to fashion; mold; create. To
establish and strengthen. To establish a basis for.
BUILD
To bring or put into service; employ for some
purpose. To consume or expend the whole of. The
permission, privilege or benefit of using something.
The power or ability to use something. The quality
of being suitable or adaptable to an end. The goal,
object or purpose for which something is used.
USE

Glyph Jisho
To look forward to the probable occurrence or
appearance of. To look out at.
EXPECT
(EXPECTATION)
To make plain; remove obscurity from. To define,
explicate. To offer reasons for, or a cause of. To
spread out; completely flat plain.
EXPLAIN
To explain by example. Someone or something
worthy of imitation or duplication. Serving as an
illustration, a model, or an instance. To take out.
EXEMPLIFY
(EXAMPLE)
The apprehension of an object, thought, or
emotion through the senses or the mind. Active
participation in events or activities leading to the
accumulation of knowledge and skills. To try, test.
EXPERIENCE
To make plain; remove obscurity from. To define,
explicate. To offer reasons for, or a cause of. To
spread out; completely flat plain.
EXPLORE

Glyph Jisho
A person who buys goods and services on a
regular basis. To become, to accustom.
CUSTOMER
(CONSUMPTION)
One who spends or utilizes time, money or
effort for future advantage or benefit. To
besiege. To clothe in, surround.
INVESTOR
(INVESTMENT)
The act, manner or practice of directing or
controlling the use of. To direct or administer.
Hand, handle. To mete out, dispense. To be an
aid, minister to, servant.
MANAGEMENT
One who brings forth, creates by mental or
physical effort. One who causes to occur; one
who leads forward.
PRODUCER
(PRODUCTION)

Glyph Jisho
The particular mode or state of being of a
person or thing. The existing circumstances.
Latin: conditio, agreement, stipulation, from
condicere, to talk together, agree.
CONDITION
That which is or has been seen. Unusual
competence in discernment or perception. A
mental image produced by the imagination. The
mystical experience of seeing as if with the eyes
the supernatural or a supernatural being. Latin:
to see.
VISION
A question or situation that presents uncertainty.
A question put forward for discussion or
solution. Greek: problema, thing thrown
forward, projection, obstacle.
PROBLEM
Tension: a force tending to produce elongation
or extension. Voltage or potential; electromotive
force. Creative: the power to cause to exist, bring
into being, originate.
CREATIVE
TENSION
(TUG AND PULL)

Glyph Jisho
State or fact of knowing. The sum or range of what
has been perceived, discovered. Understanding
gained through experience, study. Confess,
recognise. The content of a book or document.
Container.
BODY OF
KNOWLEDGE
(KNOWLEDGE)
Process: a system of operations in the production of
something. A series of actions that bring about a
result. Proceed. Facilitation: to free from difficulties
or obstacles; make easier, aid, assist. Easy.
PROCESS
FACILITATION
To provide with knowledge or training. To discipline,
train or devleop. To bring up. EDUCATION
Something that supports. The total of circumstances
surrounding an organism or group of organisms;
combination of external or extrinsic physical
conditions that affect and influence the growth and
development of organisms. To turn around the
circle.
ENVIRONMENT
Derived from the systematic procedure by which a
complex or scientific task is accomplished. Abstract
or theoretical. According to principle;
industrial/mechanical. Pertaining to or involving
technology. Skill, art.
TECHNICAL
SYSTEMS
(TECHNICAL)
Project: a plan or proposal; scheme. To transport in
one's imagination. to cause an image to appear on a
surface. To throw forth. Management: the act,
manner or practice of handling or controlling
something. To direct the use of.
PROJECT
MANAGEMENT
Venture: an undertaking that is dangerous, daring,
or of doubtful outcome. To take a risk or dare. To
arrive. Management: the act, manner or practice of
handling or controlling something. To direct the
use of.
VENTURE
MANAGEMENT

Glyph Jisho
VISION
mental image produced by the imagination. The
mystical experience of seeing as if with the eyes
the supernatural or a supernatural being. Latin:
to see.
To give form to according to a definite plan or
process; to fashion, mold, create. To establish and
strengthen; create and add to. Old English: a
dwelling.
BUILDING
To bring up or put into service; employ for some
purpose. To consume or expend the whole of.
USING
The collective aspect of the set of characteristics
by which a thing is definitely recognisable or
known. The quality or condition of being or
remaining the same. Latin: the same.
IDENTITY
Aim, purpose, meaning, purport. Firmly fixed,
concentrated. Having the mind fastened upon
some purpose. Latin: to stretch toward.
INTENT
The capacity to discern the true nature of a
situation. An elucidating glimpse. Old English:
thing seen within.
INSIGHT
To plan, construct and manage as an engineer.
To plan, manage, and put through by skillful acts.
Latin: contriver, talent.
ENGINEERING

Glyph Jisho
To meet or come upon, especially casually or
unexpectedly. To meet, especially in conflict.
ENCOUNTER
A numerical measure of the uncertainty of an
experimental outcome. Knowledge derived
from study, experience, or instruction. A
non-accidental signal used as input to a
computer or communication system.
NEW
INFORMATION
Any example or model. [In our case, a world
model used by the controller of a system to
make decisions based upon input to the
system and past experience.]
PARADIGM
To assume to be true for the sake of
explanation or argument. To conjecture. To
substitute, put under, forge.
S’POZE
To cause to merge or combine together into
a united whole. To unite with or blend
indistinguishably into something already in
existence. To form into a body.
INCORPORATE

Glyph Jisho
The ability to form mental concepts; invention.
The formation of a zygote capable of survival
and maturation in normal conditions. Concept,
plan, design, idea. To take to oneself.
CONCEPTION
A length of line folded over and joined at the
ends to form into a loop. Loupe. Imperfect gem.
A small magnifying glass used by jewelers.
LOOPING
The achievement of something desired,
planned or attempted. To follow closely, go
after, to go toward.
SUCCESS
OVERSHOOT
AND COLLAPSE
To go beyond, to miss by or as if propelling
something too far. To fall down or inward
suddenly. To cease to function, to break down
suddenly in health or strength. Slide together;
fall in ruin.
Fully developed. Worked out fully by the mind.
The state of a note, bill or bond being due. MATURITY
TURNAROUND
To cause to move around in order to achieve
a desired result. To reverse the course of.
Unsettle, upset. A chance or opportunity to
do something. Lathe, tool for drawing a circle.
ENTREPRENEURIAL
BUTTON
Organizing, operating and assuming the risk
for business ventures to undertake--to take
between; to strike against, thrust, pierce.
Termination, extinction, loss or absence of
DEATH spiritual life.

Glyph Jisho
Someone who gains knowledge, comprehen-sion
or mastery of through experience or study.
Acquire through experience.
LEARNER
Sponsor: one who vouches for suitability of a
candidate or assumes responsibility for a person
or group during apprenticeship. Latin: to make a
solemn pledge. Advocate: To speak in favor of;
recommend. Latin: one summoned to give
evidence; to call or summon. Advisor: to see to;
according to my view.
SPONSOR-ADVOCATE-ADVISOR
Facilitator: one who frees from difficulties or
obstacles, makes easier, aids or assists. Latin:
facile, easy (i.e. to do or to make). Guide: to look
after, guard; to show the way. Wisdom, wise
man, counselor.
FACILITATOR-GUIDE
Person with a high degree of skill or knowledge
in a certain subject. Latin: to try; (i.e. risk, lead
over, press forward, to learn by experience).
EXPERT
STEWARD Keeper of the hall. Ward of the hall.

Glyph Jisho
Real: being or occurring in fact or actuality;
having verifiable existence. Existing actually and
objectively.
Thing.
REAL
CAT
Concept: a general idea or understanding,
especially one derived from specific instances or
occurrences.
To take to oneself; to take comprehensively
CONCEPT
CAT
Mechanical: of or pertaining to machines or
tools. Pertaining to, or governed by mechanics.
Pertaining to, produced by or dominated by
physical forces. Interpreting and explaining the
phenomenon of the universe by referring to
causally determined material forces.
Contrivance, machine--means, expedient
MECHANICAL
CAT

Glyph Jisho
Loving wisdom. The investigation of causes and
laws underlying reality. Inquiry into the nature of
things by logic instead of empirically. Any system
of motivating concepts or principles of a culture.
PHILOSOPHY
CULTURE
Cultivation, tilling. The totality of socially
transmitted behavior, patterns, arts, beliefs,
institutions, and other products of human work
and thought.
To show off, display, citizen. A written contract. A
course of action, guiding principle or procedure
deemed expedient, prudent or advantageous.
POLICY
STRATEGY
The General. Overall planning and conduct of
large scale operations. A resulting plan of action.
The art or skill of using stratagems. To lead an
army.
To arrange in order. The technique of securing
objectives designated by strategy. The art of
directing units against the enemy.
TACTICS
To calculate, reckon. Procurement, maintenance,
replacement of materiel and personnel. Skilled in
arithmetic calculation.
LOGISTICS
To tax. The function that a working person, unit
or thing is expected to fill; objective.
TASKS

Glyph Jisho
FEEDBACK
A coming out... to come out from. An experience
of some significance. A coincidence of two or
more point objects at a particular position in
space, at a particular instant in time.
The return of a portion of the output to the
input especially when used to maintain the
output within predetermined limits.
EVENT
To note down, to mark. Lesson, example,
warning, to teach. Anything serving as evidence
or proof. To support with citations, annotate.
DOCUMENT
KNOWLEDGE
BASE
The sum or range of what has been perceived,
discovered or inferred. Skill, understanding,
experience. Familiarity, awareness.
To allot, grant apart. Dispersion, diffusion. Divide
and dispense in portion.
DISTRIBUTION
To draw, pull. Trace, trail. To follow the footprints
or traces of. TRACKING
DESIGN
To conceive, invent, contrive; to form a plan for.
To draw a sketch of. Intend. To have a goal or
purpose. Designate. To mark out.
Read: to comprehend or take in the meaning of.
To seek to interpret the true nature of. To
ascertain intent of. To foretell or predict. To
perceive, receive or comprehend. Advise, explain.
READ
AHEAD

Glyph Jisho
The return of a portion of the output to the
input especially when used to maintain the
output within predetermined limits.
FEEDBACK
The process of doing or performing something.
An enactment or decree. To drive to do. To
push, propel or push forward.
ACT
mental image produced by the imagination.
The mystical experience of seeing as if with the
eyes the supernatural or a supernatural being.
Latin: to see.
VISION
A pattern or gauge used as a guide in making
something accurately or in replicating a
standard object. Often a piece of wood or a
thin metal plate. Old French temple: a
wooden device in a loom that keeps the cloth
aligned during weaving.
Temple: sanctuary
TEMPLATE
To impart fresh life to. RE-: again. CREATE: to
cause to exist; to bring into being; to cause to
grow. Latin: to cause to grow anew.
RECREATE

Glyph Jisho
Greek: to write before. A procedure for solving a
problem. Any organized list of procedures. PROGRAM
SCHEMATIC
CONCEPT
Latin: form, figure. A structural or procedural
diagram, esp. of an electrical or mechanical system.
+ Latin: a thing taken to oneself. A general idea or
understanding, esp. one derived from specific
instances or occurrences.
Latin: before the threshold. Prior to or preparing for
the main matter, action or business. + Latin: to mark
out. A drawing or sketch. The invention and
disposition of the form, parts, or details of something
according to a plan--a visual composition.
PRELIMINARY
DESIGN
Latin: to mark out. A drawing or sketch. The
invention and disposition of the form, parts, or
details of something according to a plan--a visual
composition. + Latin: to unwrap. The act of
expanding to realise the potentialities of; bringing
gradually to a fuller, greater, or better state.
DESIGN
DEVELOPMENT
To draw together an agreement between two or
more parties, especially one enforceable by law. +
Latin: lesson, example, warning; to teach. A written
or printed paper bearing the original, official or
legal form of something.
CONTRACT
DOCUMENTS
The act or process of causing to occur or exist.
Latin: to lead forward + the act, manner or practice
of directing or controlling the use of; to handle.
PRODUCTION
MANAGEMENT
EVALUATION To ascertain or fix the value of.

Axioms
Past, Present, and Future: Embracing Ignorance to Navigate through
Time
The future is rational only in hindsight.
You can't get there from here but you can get here from there.
Discovering you don't know something is the first step to knowing it.
The Unfolding and Enfolding of Shared Experience
Everything someone tells you is true: they are reporting their
experience of reality.
To argue with someone else's experience is a waste of time.
To add someone else's experience to your experience--to create a
new experience--is possibly valuable.
4.
5.
6.
Comprehending Laughter, Value and the Innite Solution Set
You understand the instructions only after you have assembled the
red wagon.
Everyone in this room has the answer. The purpose of this intense
experience is to stimulate one, several, or all of us to extract and
remember what we already know.
Creativity is the elimination of options.
If you can't have fun with the problem, you will never solve it.
The only valid test of an idea, concept or theory is what it enables
you to do.
In every adverse condition there are hundreds of possible solutions.
7.
8.
9.
10.
11.
12.
Choosing to Fail and Succeed
You fail until you succeed.
Nothing fails like success.
1.
2.
3.
13.
14.

a of a model is a representation of reality is a manifestation of a model is a representation of reality is a manifestation of
produced by
Christal Gadiot
All models © MG Taylor Corporation
www.mgtaylor.com

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