Sometimes They Just Want To Go Home

by:

Joe Patti

I was perusing the tweets of those at the National Arts Marketing Project Conference (NAMPC) while thinking about a comment made by the director of the local arts museum wondering why people were leaving a fundraiser so early.

This was the exact opposite situation from one apparently expressed by Alan Brown at the NAMP Conference who wondered why arts organizations were so quick to chase people out after the event was over.

The live and silent auction were over and no one was going to be asked to donate more money. There was plenty of food and alcohol to consume, a cigar and brandy station had been set up in the newly renovated alley for those who wanted to parttake. There was plenty of art to look at, including an amazing new installation and the artist was on hand to chat with.

They had only expected about 75 people to attend and more than 130 showed up so there were plenty of people with whom to mix and mingle. (And one of the other attendees remarked to me that there were a lot of new faces at the event so it wasn’t as if the conversation topics dried up.)

And it was only 8:30 pm on the Saturday night of a three day weekend.

By 8:45 except for the staff and volunteers, the place had pretty much cleared out.

So when I saw Sara Leonard tweet quoting a speaker at the conference saying, “Create the value your audience craves,” I wondered what might have been lacking that might have kept everyone hanging around a little longer.

The auctioneer had to ask for quiet a couple times during the auction because people were too boisterous so they were clearly having a good time.

Perhaps what the audience valued was an organization that ran an efficient fundraiser that showed them a good time and got them out before 9:00.

Maybe as Alan Brown suggests, everyone was used to being chased out and left of their own accord. Or maybe, as one off the museum staff suggested, the community likes to get to bed early.

I feel that I must make a bemused observation that clearly one needs to appeal to a younger audience not only to sustain support for the arts long term, but to find some people willing to stick around and keep the party going for you in the short term. (which I mean both literally and figuratively.)

Whether it be fund raisers or performances, it isn’t enough just to have a fun after-event party in order to attract younger audiences, the content of the main event has to be of some interest because there are plenty of bars and dance clubs where they can go instead and circumvent the boring part.

But the truth is, sometimes it isn’t anything you did. Audiences just want to go home and that is an enjoyable evening.

The Founder’s Curse

by:

Joe Patti

We here at Butts In The Seats blog, (okay, me), are not afraid to admit when we may have been wrong. This summer, Elizabeth Schmidt, wrote a piece on Non-Profit Quarterly challenging the myth of the Founders Syndrome.

There have been times in the past when my posts have played into the notion that Founders tend to hold their organizations back in various ways. As Schmidt enumerates:

The label seems to be applied if one or more of the following symptoms are present. The first is a sense of grandiosity—that the organization is the founder’s, and it exists to serve his or her ego (or pocketbook). The second is an inability to delegate—poor management on the part of the founder. The third is an inability to make a smooth transition from the founder to new leadership. And the fourth is an unwavering dedication to the original vision for the organization.

Schmidt makes the common sense observation that you don’t need to be a founder to exhibit these characteristics and gives a few examples of non-founders who have damaged their organizations by manifesting them. She also notes that being normal human beings, not all founders possess these traits, nor do they suddenly become infected with these inclinations upon deciding to found a company.

She notes the inability to plan a smooth leadership transition is so widespread it is more of an organizational failing than attributable to the influence of a single individual.

The worst in Schmidt’s mind seems to be the fourth stereotype of not allowing the organization to evolve beyond the original vision.

“This symptom is particularly disturbing, however, because it has the potential to squelch necessary dialogue among the stakeholders of the organization. To say, as soon as a disagreement arises, that the party who conceived of the initial mission suffers from founder’s syndrome, severely handicaps that party’s standing in the discussion.”

Schmidt acknowledges that there is always some basis in truth to the anecdotes that form these generalizations about founders and it is likely that many organizations have encountered troubles for just these reasons.

However, she points the lack of research providing evidence that this is a particular problem for founders. The only study she found that attempted to collect empirical data concluded that there was ““considerable truth to some of the rumors and stories about founder’s syndrome.” However, Schmidt feels the following data does not support this assertion and is at best, inconclusive.

-Founder-led organizations tended to have smaller budgets.

-Term limits for board members existed in 31 percent of founder-led organizations and 49 percent of non-founder organizations.

-Eighty percent of founder-led organizations held at least quarterly meetings, compared to 87% of non-founder organizations.

-Three-fourths of the respondents in both groups thought either the executive director or the board chair was the most influential person during a board meeting, but founder-led organizations were more likely to say the executive director was the most influential.

-On the other hand, founder-led organizations were more likely to have reviewed the mission in the past year than organizations led by non-founders; they were more likely to attract full board participation at meetings, and they were more likely to set and mail the board agenda ahead of time.

I haven’t read the study she references, but on the face of the data, I would probably lean toward saying non-founder organizations employed better governance practices. Still Schmidt makes a strong argument about resisting the inclination to automatically dismiss a founder as the source of problems for a company and instead evaluate all elements potentially contributing to the organization’s weakness.

Info You Can Use: Examining The Critical Path

by:

Joe Patti

Yesterday, Seth Godin made a post that seemed aimed at a few of the companies and organizations I have volunteered or worked for/with throughout my life. He addressed the importance of understanding the critical path to achieving a goal. He defined critical path as “The longest string of dependent, non-compressible tasks.”

He uses wanting to create a garden as an example.

“For example, in your mind’s eye, the garden has a nice sign in front. The nice sign takes about a week to get made by the sign guy, and it depends on nothing. You can order the sign any time until a week before you need it. On the other hand, you can’t plant until you grade and you can’t grade until you get the delivery of soil and you can’t get the delivery until you’ve got a permit from the local town.”

He notes the logical step is to take care of that permit first. “And yet most organizations focus on shiny objectives or contentious discussions or get sidetracked by emergencies instead of honoring the critical path.”

He discusses how important it is to identify the parts of a process that end up being the choke points of the critical path. He gives an example of how a company he worked for used color coded buttons to identify the people who were important points along that path for a project upon which the success of the company hinged. Everyone not identified as part of that potential choke point, including the president of the company, knew not to impede the progress of those who were.

This resonated with me because I recently discovered that the piece of software I use for tracking my task list has a pull down menu with “Waiting on Someone Else” as an option. When I started using that option to keep the list from periodically squawking that those tasks were overdue, I realized that nearly every task was waiting on action from the same two offices. At least in terms of the functions of my operations, those offices were part of my critical path.

As I read Godin’s post, I was reminded of the oft heard statement: fast, cheap, quality, choose any two. There are staff members that are frequently given tasks with competing priorities and are left to ask which of the crucial tasks are slightly less crucial.

Analyzing the critical paths by general project types would assist decision making about resource and time management within the organization. One notable thing about Godin’s example is that the project, rather than the organization chart, determined who were the most important staff members. If it took the president fetching coffee for the graphic designer to make the project succeed, that is what happened.

The president does play a crucial role in the organization and can’t be spending all their time fetching coffee, but their work may not represent a crucial juncture in the overall process upon which other activities depend. (Except for signing payroll, of course!)

Think about the critical paths in your organization. It may surprise you to learn what your critical paths are and may reveal some awkward truths about where resources really need to be allocated to meet the mission of your organization.

Though remember that this is more than just needing a lot of hands to help out with a process, it is about a chain of events that definitely depend on the prior step being completed. Needing 10 people to stuff envelopes on Wednesday isn’t part of the critical path if having six people start on Monday will accomplish the same goal of getting it all out by Friday. It is, however, if you are mailing out W-2 tax forms which, by law, need to go out by January 31 and the forms can’t be printed out until Tuesday because the payroll data isn’t available until Monday, because…

Is This An iPad I See Before Me?

by:

Joe Patti

Last week we hosted an Immersive Game + Simulations Technologies conference in my facility. This is an area in which I am only generally familiar so some of the speakers had some very interesting things to so. The keynote speech given by Simon Solotko provided me with an immediate vision of a likely intersection between live performance and technology.

Fair warning: Don’t read any further if you can’t tolerate the idea of cell phones and iPads being used in your arts facility.

Solotko addressed the idea of augmented reality where technology overlays some sort of information upon the “real world.” For example, if you pointed the camera on your cell phone down the street, an arrow might appear on the screen over the image of the street showing you which way to turn to get to a bakery.

Solotko’s thought was that you could use this technology to provide whatever information you wanted people to know about you, and only that information. If you were at a writers’ conference you might put information out on the Cloud that you were doing research on a book about the Civil War. When someone pointed their phone/iPad in your direction they would see that information, but know nothing more about you than that. So if they shared your interest or had some resources you were seeking, they might come over and speak with you.

Solotko noted that you wouldn’t want to use facial recognition to connect yourself to the information you put out there because it is far too permanent and identifiable to be able to retract. Not to mention that there would be problems in low light environments. (This has a lot of social utility and you might want to put some information out there while you are in a dance club, after all.)

According to Solotko, this is really what the Samsung Galaxy Gear is all about. Its utility is about more than just moving the functions of a phone to your wrist, but providing an platform to deliver the augmented reality experience Solotko envisions.

As he describes it, you would put some information out there on the Cloud then program your wristband with some distinctive pattern of color. When someone pointed their camera at you, it would pick up the pattern and provide whatever information you chose to share.

I immediately recognized live performances could use this to provide supplemental information about the artist performing; the character they are playing; provide stream a real time translation of Shakespearean speeches or Italian aria being delivered; and perhaps even offer another layer of characterization by revealing a character’s internal thoughts that belie their spoken sentiments. (Though if an actor is any good, they shouldn’t need a virtual thought bubble to communicate, but it could definitely have its uses.)

Of course, orchestras had this idea a long time ago with the ill-fated Concert Companion project.

As I noted earlier, this means actively encouraging people to hold up their phones or wear their Google Glasses and ceasing to worry that they are recording every moment on stage. Whether audiences and venues are ready to embrace this shift in the viewing environment is likely to depend on a number of factors.