QSM/Vol4

Practicing to Becoming a Change Artist

  1. Goint to Work: 일하러 갈 때 평소와 다른 길로 가보기. 변화에 수반하는 혼돈 등의 감정을 스스로 느껴보기.
  2. Making One Small Change: 스스로 단 하나의 요소만 바꿔보기. 하나만 바꾼다는 것은 힘들다는 것 느껴보기.
  3. Changing Nothing: 아무 것도 하지 않고, 왜 변화의 필요를 느끼는지 발견해보기.
  4. Changing a Relationship: 누군가와의 관계를 변화시켜보기. 일치성과 충돌에 대해 배운 것을 직접 경험해보기.
  5. Being the Catalyst: 다른 사람의 변화 프로젝트를 facilitate해보기.
  6. Being Fully Present: 적극적 경청해보기.
  7. Being Fully Absent: 문제를 떠나있어보기. 일주일 동안 휴가를 가보고, 돌아왔을 때 어떤 것이 변해있는지 관찰해보기.
  8. Applying the Principle of Addition: 반복하면 강화된다. 어떤 사람에게 어떤 affirmation을 정해서, 매일 매일 줘보기.
  9. Organizing the Grand Tour: 다른 change artist를 사무실에 초대해서, 사무실의 사람들이 그 사람에게 '다른 팀에서 탐낼만한, 우리가 잘 하고 있는 것'을 설명하도록 하기.
  10. Learning from History: 당신이 비생산적이라고 생각하는 그 실천법의 역사를 발견해보기.
  11. Putting Theory into Practice: QSM의 아무 쳅터나 리뷰를 해보고, 구체적으로 실천해보기.
  12. Developing Yourself:

QSM: Volume 4.1: Becoming a Change Artist

Part I. Modeling How Change Really Happens

Chapter 1. Some Familiar Change Models

Summary

  1. Attempts to change software organizations commonly fail because of inadequate models of change dynamics.
  2. The Diffusion Model is the simplest of all the change models and is based on the belief that change just happens by diffusing into the organization like dye diffuses into solution.
  3. A slightly more sophisticated view of the Diffusion Model recognizes that the diffusion of a change does have structure. If we control the variables in this structure, we can manage diffusion to a limited extent.
  4. The strength of the Diffusion Model is its attention to change as a process. The weakness is the abdication of control over that process to forces of nature.
  5. The Hole-in-the-Floor, or Engineering, Model attempts to correct the weakness of the Diffusion Model by adding control of the change process. This control involves three steps:
    1. Working upstairs, the engineers develop the perfect system.
    2. The change plan consists of drilling a hole in the floor.
    3. The system is dropped through the hole and the workers use it happily ever after—instant diffusion.
  6. The Hole-in-the-Floor Model is based on a number of false assumptions about the nature of people, but often fits the data on change if viewed from a sufficiently high level. Those few times when we must change the side of the road, we need to try to make change approximate the Hole-in-the-Floor Model as closely as possible.
  7. The strength of the Hole-in-the-Floor Model is the emphasis on planning. What's weak in the model is that the planning leaves out so many essential factors, most notably the human factor.
  8. The Newtonian Model (or Motivational Model) introduces the concept of external motivation to change, and says
    • The bigger the system you want to change, the harder you must push.
    • The faster the change you want, the harder you must push.
    • To change in a certain direction, you must push in that direction.
  9. The Newtonian Model does recognize that people have a choice in what they do, and that their choice can be influenced by pushing them as part of the change process. It fails to recognize that people are not nearly as simple as the Newtonian Model implies, so that pushing often produces a boomerang effect.
  10. One useful refinement of the simple Newtonian Model is what social psychologists call force field analysis, a method that is based on listing all forces for change on one side of a diagram and against change on the other, then looking for ways of shifting the balance.
  11. The strength of the Newtonian Model is the explicit introduction of the human element in the form of motivation. Its weakness is the totally inadequate model of humanity that's used: that people can be pushed around like billiard balls.
  12. The Learning Curve Model recognizes that people aren't billiard balls, and that people are usually unable to respond to change attempts like a billiard ball with instant efficiency. Moreover, it takes time to learn to respond as well as the planners would hope.
  13. The Learning Curve Model suggests the possibility of influencing the course of the change by personnel selection and training and is quite useful for large- scale planning. However, it fails as as a practical tool for managing cultural change person-by-person in a real organization.
  14. The strength of the Learning Curve Model is its incorporation of the adaptive human element in change. The weakness is the averaging out of details of individual human beings.

Chapter 2. The Satir Change Model

Summary

  1. To manage change effectively, you must understand emotional reactions. Virginia Satir's model of how change takes place applies to individuals as well as to systems of individuals, and definitely incorporates the emotional factor.
  2. The Satir Change Model says that change takes place in four major stages, called:
    1. Late Status Quo, or Old Status Quo
    2. Chaos
    3. Integration and Practice
    4. New Status Quo
    5. The model also describes a higher level of change, or meta-change, which involves changing the way we change.
  3. The Late Status Quo is the logical outcome of a series of attempts to get all the outputs of the system under control. Everything is familiar and in balance, but various parts of the system have an unequal role in maintaining that balance.
  4. The Late Status Quo stage is a state of ill health that always precedes the so-called crisis. The Satir Change Model recognizes that the crisis is not a sudden event, but merely the sudden realization that things have been unhealthy for a long time—not a crisis, but the end of an illusion.
  5. In the Late Status Quo, people may be experiencing anxiety, generalized nervousness, and gastrointestinal problems. Constipation is a perfect metaphor for the over-control that characterizes the Late Status Quo, where there is no sense of creativity, of innovation. The most important sign that the system is in Late Status Quo is denial: the inability or unwillingness to recognize all the other symptoms, or to attach enough significance to them to do anything.
  6. Systems stay in Late Status Quo until something happens that the people in the systems can no longer deny—a condition Satir calls the foreign element. The system usually tries—and often succeeds—to expel the foreign element and return to the Late Status Quo because familiarity is always more powerful than comfort.
  7. When a foreign element arrives, people become protective and defensive. Still, the foreign element may be the only thing that arouses any kind of new activity, but most of that is simply trying to expel the foreign element.
  8. Eventually, some foreign element cannot be denied or deferred or deflected, and the system goes into Chaos, where old predictions no longer work. The Old Status Quo system has been disrupted.
  9. People try random behavior and desperately seek sweeping, magical solutions, to restore the Old Status Quo. It may not be easy for people in Chaos to acknowledge it's happening to them. They feel crazy, afraid, and vulnerable; and they become extremely defensive and alienated.
  10. When in Chaos, people encounter people they've never seen before, and functions they never knew existed. Some startling new ideas may emerge, but if they work at all, they only work for a short time.
  11. Eventually, one of these new ideas seems a real possibility. This is the transforming idea—the "AHA!" that starts the Integration and Practice phase. Chaotic feelings disappear, and at moments of apparent clarity, everything looks like it will be solved. However, the moments of clarity are often replaced by old feelings of doubt, as feelings swing back and forth.
  12. During Integration and Practice, people feel good, but feel unable to control the good feeling. They are easily disappointed when things don't work out perfectly the first time, and need much support, though they may not seek it explicitly.
  13. A major component of the good feeling is the "Aha" rush that often comes with the transforming idea. The memory of this rush is so strong, though, that the practice needed to integrate the transforming idea is often forgotten.
  14. Successful practice eventually leads to a New Status Quo stage. Unfamiliar things become familiar, and a new set of expectations and predictions evolves. People are calm, balanced, and have a sense of accomplishment. But, unless they take charge of the change process, the newness of the New Status Quo wears off, and we drift into another Old Status Quo Stage.

Chapter 3. Responses to Change

Summary

  1. According to the Satir Change Model, the change process contains many choice points—points at which the individual or organization can respond in one of several ways:
    • The foreign element can be rejected, or not rejected.
    • The foreign element can be accommodated into the old model of reality.
    • The old model can be transformed to receive the foreign element.
    • The transformation can be integrated or not integrated into the model.
    • The transformed model can be mastered or not mastered through practice.
    • In addition, there is the choice of how much time should pass before the explicit introduction of a new foreign element.
  2. When management announces a change, many employees will perceive the announcement as a foreign element and attempt to reject it. The first step in dealing with these rejections is to realize that opposition to a foreign element is perfectly natural, and not a personal attack. Then listen to the sense of each argument and, more importantly, to the emotional "music" behind it. Responding to the emotions will generally be more successful than trying to counter the arguments.
  3. Other people may resort to accommodating the foreign element into their old model, and truly believe they are doing the change. A good strategy here is to be tactful yet explicit in what truly needs to be done to accomplish the change.
  4. A good strategy when introducing change is to emphasize how the changed state resembles what is already being done. Instead, some people introducing change emphasize how everything is entirely new and different. To be successful at change, you need to show people that they really have a vast amount of knowledge so that the change is only a small, logical increment to their knowledge base.
  5. The introduction of a change often fails at the point where the new way must be integrated into practice. In training, real examples give the most effective practice, especially if the environment makes it safe to make mistakes and to go at whatever speed is needed to integrate the new material. And practice doesn't end when classes end; the introduction of new ideas to the actual job needs lots of safety and support from experienced people.
  6. Once the change has been integrated into a few working examples, a return to Chaos becomes far less likely—but still possible if conditions are bad enough. Lots of petty adjustments are required to make any real change work in practice, and lots of time must be allowed for scaling-up from small examples.

  7. Perhaps the most common cause of failing to change is the question of timing—the interference from other changes. Changes do not come in isolation, and McLyman's Zone Theory is an excellent guide to timing the introduction of new foreign elements, based on zones.

  8. The Red Zone is the interval of time before a previous foreign element is transformed, accommodated, or rejected. When a new foreign element arrives while the system is in the Red Zone, Chaos from both foreign elements increases. Moreover, the chance of ever finding a transformation for either foreign element decreases, and the likelihood of rejection or accommodation increases.
  9. The Yellow Zone is the time during which a previous transformation is still being integrated. When a new foreign element arrives while the system is in the Yellow Zone, chances of successful change are reduced, but not as seriously as with Red Zone foreign elements. With successive Yellow Zone foreign elements, however, the system builds an energy debt. Successful change becomes progressively less likely, and productivity drags.
  10. The Green Zone is the time between late Integration and early New Status Quo. When a foreign element arrives in the Green Zone, the system's chances of successful change are maximized. Not only is there no energy debt, but each successful Green Zone change increases the chances for the next.
  11. The Gray Zone is all the time after system has been in Late Status Quo for a while. When a foreign element arrives in the Gray Zone, people have lost some of their meta-change skills, for old learnings about change have lost their usefulness. Without these meta-change skills, change is once again slow and difficult, and the chance of successful change is lowered.
  12. Managers who are in a hurry and press the organization with too many changes too quickly will merely slow down the very changes they are trying to accelerate. Similarly, if managers adopt the strategy of "hit them with a lot of changes, and some will stick," they'll find that in the end, none of them will stick.
  13. Not all parts of the system are in the same zone at the same time. This is true at every level of the organization, right down to the individual. Although change must be managed at a high level, we must never ignore the impact on individuals.
  14. Change tends to disrupt information flow needed to manage change. The most reliable information is the emotional signals from the people experiencing the change. Use these signals to determine the appropriate zone strategy, or what kind of information you need to supply.
  15. During an aging Status Quo, old feedback mechanisms are eroding slowly. Information is not getting through. Behavior is less predictable, and to make it more predictable, people often ignore what information does get through. Interventions here should be in the direction of getting people to recognize what is, rather than what it is supposed to be.
  16. For major changes, the system may go through the change model many times. Not only do systems and individuals learn during the change cycle, but after several complete change cycles, they "learn to learn"—and they also learn about the importance of learning in a change process. Experienced change artists feel such high self-worth and unlimited coping ability that they are able to deal in a truly helpful way with those to whom the prospect of change is a threat.

Part II. Change Artistry in the Anticipating Organization

Chapter 4. Change Artistry

Summary

  1. Whenever we look into organizations that have accomplished cultural changes, we find a large number of people who we call change artists. Moreover, we find these change artists at all levels of an organization, and in all units, because for cultural change to occur, it must occur at all levels and all units. When these change artists are present, they deal with the individual emotional responses to change, and thus increase the chances for success of any change plan.
  2. In the Anticipating organization, to some degree everybody has become a change artist, Thus, the devotion to developing change artistry is one of the distinguishing marks of this cultural pattern, and the primary tool for change is neither things nor procedures, but people.
  3. Change artistry consists of knowing how to facilitate change, knowing what to change, when to change it, where in the organization the change should be introduced, and who should take what roles in carrying it out. Even more, it consists of the ability to take congruent action when under great stress, and surrounded by people under stress.
  4. There is no single way to be a change artist, and different ones are needed for different jobs. The important thing is to have a change artist in the right place at the right time to facilitate each little piece of the grand plan.
  5. Each stage of change is different, and each stage requires different types of intervention. Fully matured change artists are able to operate well in all phases: Old Status Quo, Chaos, Integration and Practice, and New Status Quo. Some change artists, however, are primarily effective at only one stage, simply because it happens to match their skills and personalities.
  6. The NT Visionary likes working with ideas and is most interested in designing, rather than implementing, change. The NF Catalyst enjoys working with people to help them grow, and is best at keeping people working together through the rough spots of the change process. The SJ Organizer, who likes order and system, is best at carrying the transformation into actual practice, long after the visionaries have gotten bored. The SP Troubleshooter likes getting the job done and is least likely to deny the foreign element, because it offers an opportunity to swing into action.
  7. The temperaments are merely tendencies: what we may do instinctively when we act without thinking. More fully developed change artists recognize their tendencies, honor them for their strengths, note their weaknesses, and set them aside if they are inappropriate for the current situation.
  8. Without careful management, long-term change is invariably sacrificed to short-term expedience. Such expedience takes place all the time, everywhere in the organization, essentially out of the view of the high-level management. That's why change artists have to be in every nook and cranny of an organization.
  9. The act of patching violates standard process, and so encourages further process violations over time. Though the patch maintains stability in one area, it is a foreign element in several others. Change artists in Anticipating organizations evolve a process to resolve this conflict, such as a QUEST team consisting of a hacker responsible for solving the immediate problem, a guardian responsible for seeing that no harm comes to the product, and a healer responsible for amending the process to prevent further occurrences, or to be prepared to handle them better.
  10. Perhaps the toughest skill for a change artist to learn is the skill of knowing what people and what situations to leave alone. Change artists need to learn how to recognize whether a person or department is willing to help themselves rise, and to connect what the individuals want with what the organization or the change artist wants.
  11. Among the important principles of change artistry are
    • Always find the energy for change and go with it.
    • Don't get hooked into negative energy.
    • Talk in their terms and find out what the issues really are.
    • Once you're prepared, go to the source.
    • It's perfectly all right to do nothing for a time.

Chapter 5. Keeping Most Things the Same

Summary

  1. A change artist's first and foremost responsibility is to use that longer-term, wider-scope knowledge to keep most things the same even in the face of innumerable failures. Until you know how to maintain an organization, you will not know how to change one.
  2. All organizations, regardless of their culture, need mechanisms to maintain themselves. You can discover what is being maintained by examining the mechanisms that maintain them. Cannon's principle shows you how to investigate just what these elaborate mechanisms are maintaining—which may not be what the organizations say they are maintaining.
  3. Some Variable cultures are devoted to survival of a system of management power, perquisites, and prestige. Such a culture is not a good candidate for a well-planned, well-managed change project.
  4. Observing how an organization measures is a good way to apply Cannon's principle. For example, the use of lagging indicators is a good way to recognize failure-oriented organizations, ones that assume they will fail. Instead of working to prevent failure, they are working to maintain the failure level low enough so they won't attract attention. They're also working to establish evidence they can use to point blame at someone else.
  5. Another way to understand what a culture values, and what it is trying to maintain, is to examine what it measures. Two of the most common cultures are characterized by the measurement of consumption and the measurement of production. Accounting managers typically measure by consumption. Technology managers typically measure by production.
  6. Neither the accounting mentality nor the technology mentality are adequate to the job of software engineering in an Anticipating culture—first, because neither consumption or production alone is a sufficient measure and, second, because both together are inadequate to explain the organization's ability to survive in the future.
  7. These systems of maintaining cultures of failure and/or management power are examples of what Argyris calls espoused theory versus theory-in-use. To achieve an Anticipating (Pattern 4) culture, you need to lay bare these hidden purposes.
  8. It's not sufficient to set up a process and then expect it to go on forever. Without constant tending, any process will deteriorate, and deterioration of the process invariably leads to deterioration of the product.
  9. Design deterioration is the result of a set of design decisions that didn't age well. Each such short-sighted design decision adds a little to the design debt carried by the existing software inventory. Although no single design deterioration seems sufficiently large or exciting to fuss about, after a couple of decades of such decisions—and little effort to correct them—many an IS organization finds itself in Late Status Quo.
  10. Maintenance deterioration comes from patching programs in a way that does not entirely preserve their designs. A first-class design endures years of hastily considered patches and finally turns to trash.
  11. Design maintenance debt is the sum of design debt and maintenance debt. Design maintenance debt—not the "size" of the modification in function points or lines of code—is the major determining factor in the cost of making a modification to an existing system. This debt is often a major cost and complication factor in changing a software engineering culture.
  12. In many software engineering organizations, change artistry debt stands squarely in the way of eradicating the hidden debts in mountains of code. Some organizations have actively attacked their change artistry with covert communications, promotion by buddy system, rumors used to tarnish reputations, punishment of risk-takers, and acceptance of special favors from vendors.
  13. The MOI Model says that in order to change, we need motivation, organization, and information. For change, motivation may come from many sources, but any motivation to change is killed by a fear of taking risks. Organization consists of a variety of forms, such as good strategic planning, a reliable infrastructure (such as e-mail, meeting facilities, and phone system), sensible budgets, and a consistent culture.
  14. Information for change is needed at two levels. The first kind—the various change artist skills—are of little use without the second—reliable data on the organization's current product and process.
  15. The various components of change artistry are intertwined with management behavior, so that certain behaviors over time create an enormous deficit in an organization's change skills. To overcome this debt, an organization needs management attention. Managers need simple rules to govern their behavior if they are to conserve what's good in the present organization while promoting change to an Anticipating organization.
  16. Some of the more effective management rules for conserving what's good during change are these:
    • Don't blame. Give and receive information.
    • Don't placate. Take no job that you don't believe in.
    • Cut out the superreasonable slogans and exhortations.
    • No tricks. Means are ends.
    • Trust, and merit trust.
    • Never stop training yourself in change skills.
    • Never stop seeking improvements right around you.
    • Remember that you were born little, just like everybody else. Just because you have a title, you haven't ceased to be a human being.
    • Be an example of what you want others to be.

Chapter 6. Practicing to Become a Change Artist

이 장의 목표는 변화 아티스트가 구체적으로 무엇을 하며, 그렇게 되기 위해 어떻게 훈련받는지에 대한 아이디어를 주는 것이다. 만약 이런 도전과제들을 당신이 직접 한다면 누가 말리겠는가?

6.1 일하러 가기

당신의 첫번째 도전과제는 당신이 담당하고 있는 프로젝트의 아주 조그만 특성을 바꾸는 것이다. 이 과제의 목적은 SatirChangeModel을 경험하게 하고 그 과정에서 나오는 감정을 경험하는 것이다.

The Challenge

당신의 도전 과제는, 내일 일하러 갈 때 (평소와) 다른 길로 가는 것이다.

Experiences

이 과제의 첫 경험은 이 과제를 처음 읽었을 때 당신의 머리와 마음에 스쳐 지나간 그것이다. 내가 함께 작업했던 사람들의 몇몇 전형적인 반응은 이렇다:

이번에는 이 과제를 완료한 사람들이 나에게 했던 코멘트 몇 개를 살펴보자:

박정수의 경험

무엇을 실천해볼까 하다가, 병원에 들렀다 나오는 길에 지하철 역까지 걸어서 갔다. 그 때문에 평소와는 다른 입구로 들어가게 되었고, '아, 여기에 이런 곳도 있었구나' 하면서 신기하다는 생각을 했다. 평소에 지하철 머리 부분에서 타야 최단거리라는걸 알고 있었기 때문에 '오늘은 OO 입구로 들어왔으니까 이쪽에 서야 맞겠군' 하고 계산을 하고 지하철을 탔다. 지하철을 내리고 표를 끊는데, 평소에 보던 역삼역의 모습과 너무 달라서 당황했다. '잘못 내렸나?'라는 걱정스런 마음이 덜컥 들었다. '에이, 설마. 방송 잘 듣고 내렸는데. 지하철 꼬리쪽으로 타서 그런가보다'라고 생각이 들었지만, 빨리 직접 가서 익숙한 출구의 모습을 눈으로 확인하고 싶었다. 긴 복도를 지나서 눈에 익은 출구 모습을 보자 그제서야 안심이 되었다. 그러면서, 변화에 직면하는 사람들이 이런 마음일까 하는 생각이 들면서 변화시키려는 마음의 조급함을 완화시킬 수 있었다.

초기의 작은 변화가 연쇄반응을 일으켜서 큰 변화가 될 수 있다: '이것도 하면 안돼?'라고 제안할 수 있지만, 받는 입장에서는 그것 하나가 달라지면 그 다음에 뭐가 나올지 모르고, 그 다음은 더 모르고, 완전히 길을 잃을까봐 두려워할 수 있을 것 같다.

6.2 Making One Small Change

Your next challenge is to undertake a change project of your own, but this time to seek support in making this change. The purpose is to launch your career as a change artist by experiencing in the "real world" some of the theoretical learnings, but in as small and safe a way as possible.

The Challenge

Choose one small thing about yourself you want to change. Novice change artists tend to be too eager for their own good. If you want to eat a whole elephant, start with a single bite. If you finish one change, you are free to do another, and another -- so don't worry that it's too small.

Find an interested change artist (or associate, or some willing person), meet with him or her, and explain the change you want to make. Contact with that person for the kind of support you think you need to accomplish your change. Check with your supporter periodically to update him or her on your progress.

Experiences

Since readers of a book can't easily exchange observations about experiences, let's examine a fre instructive experiences of other change artists accepting this challenge to make on small change.