Mon 21 Jun 2010
Using Problems and Difficulties in a Culture of Innovation
This is #4 in a Series on the Culture of Innovation with guest blogger Lee Devin.
Do you notice a difference between problems and difficulties? A problem has a solution. When engineers solve it, the problem goes away. It’s a question raised for solution with fixes, tests, and checklist updates. In contrast, a difficulty has no solution. A difficulty wants you to sit with it, address it, not solve it. Artists know this world of the difficult very well. No definitive fix, test, or checklist will suffice. Sitting with and playing with the difficult is simply part of the knowledge work of the artist.
For both the engineer and the artist, a difficulty is often what tangles up the solution to a problem. We see problems and difficulties all around us in the world of innovation. What’s needed to address a difficulty may not be clear at first, if ever. You may, in fact, never achieve that lovely industrial clarity. And yet, our ability to gaze unflinchingly into the face of difficulty will lead us to solve problems with greater innovation and deeper artistic mastery.
Difficulties require “AND” thinking
Difficulties are fuzzy. Improving how we address difficulties requires us to hold a large container with the word “AND” versus the word “OR.” This concept was first introduced to me in Peter Senge’s Fifth Discipline Fieldbook. I also delved into the topic in his course on Leading and Learning for Sustainability. To work with difficulties, we hold and play with a spectrum of possibilities, multiple solutions sets: this AND this AND this AND this. For the actors in a theater ensemble, AND means absorbing a variety of possibilities with the materials surrounding the play. Many innovative outcomes await based on the ensemble’s ability to hold the ambiguity of the art and embrace that sense of release.
For engineers, this might look like the following: you are solving multiple simultaneous equations for problems you see in the larger system. To be able to hold on to this container, you and the team have to feel safe “failing” with lots of little experiments. You must keep the “art of the possible” in mind. This is not an easy task for an individual, much less a group. Difficulties that accompany problems require the courage and patience to sit in a large container of ambiguity.
Consider the wicked problem example
In their book Wicked Problems, Righteous Solutions Peter DeGrace and Leslie Hulet Stahl help us delve further into problems and difficulties. Wicked problems arise out of several conditions. First, the problem domain is complex and fraught with difficulty. Then, the solution domain is similarly complex and difficult. Finally the two overlap. That is a wicked problem. Wicked problems hold nests of difficulties. Let’s compare the wicked problem of an engineer and one of an actor.
The engineer’s work begins by reading a user story and exploring the problem sheet from the architecture council. In this assignment, the engineer must be prepared to address known and unknown difficulties on the path to a solution. The engineer recognizes that there is no one solution. How difficulties are addressed may be the key to just how innovative the resulting solution is.
This assignment is the equivalent of a script given to actors. The script is not a limit, but rather material on which to perform and interpret to create something new. There is no one solution. And so, the actors hold ambiguity as they move to the ultimate offering to their audience. How the final play comes together may depend on the ensemble’s ability to play with and address the large realm of possibilities.
The art of the possible and innovation
Like actors, engineers and other knowledge workers need to do our homework, invite innovation and alternative solutions. We need to address difficulties not by point solutions, but by applying “AND” thinking, creating large containers of possibility. We must embrace the art of the possible. In the case of the actor, this comes in the form of rehearsal, ensemble and release that ultimately leads to the actual performance. In the case of the engineer, this work comes in the form of design spikes, set-based engineering, and tests. In both cases, experiments create space around difficulties. The art of the possible broadens the team’s or troupe’s innovative outcomes.
For such a culture of innovation, “AND” thinking is a vital function. At Rally, we apply “AND” thinking in how we address difficulties in a variety of ways. We may take a particular problem with its difficulties and spread it across a paired team of engineers. The teams work safely in an “art of the possible” mode for addressing difficulties in a way that leads to a better solution. We eventually move through the “AND” to a final solution, having addressed the difficulties in a variety of contexts. How you invite “AND” thinking and the art of the possible into your organization may include your Chief Engineer, a Product Owner, Director of System Engineering or a peer engineer all working in a new larger container.
Say “No,” to “No way!” and “Yes,” to “Imagine if…”
Within given circumstances, which are different for each team member, and a safe container for the conversation, the group can play out the implications of a solution, and discover its virtues and flaws. As with an ensemble of actors working through the possibilities of a scene, the only rule is: Never say, “No!” Swallowing that “No” can be hard! You must fight your first response to a suggestion or proposition, which is often “No, there is no way that it will work.”
Instead, the thing you must do is think, “Wait a minute. Let’s assume it will work. Let’s find out what happens when it does.” And, you’ll find out what happens when it does by behaving (thinking, talking, deciding) as if it is in place and working. If your first response is “Oh, wow, what a great idea!” the release might be, “How do I fit myself into this? What can I do personally to make it work?” The tool here is imagination.
We must find comfort in ambiguity and uncertainty. The question is: how can you create the container that allows your team to live with this difficulty and keep from jumping to try and solve it? If we create a culture friendly enough to notice accident and serendipity, we set ourselves up for the asymmetric payoffs associated with successful innovations. Our “AND” thinking and art of the possible ferret out the wicked problems and harvest collective team creativity.


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