Organizations suffer as they fail to act with agility through product releases, on the market, for users and consumers, facing competitors. Scrum is mandated and it is overlooked that the agility demonstrated outwardly also depends on the setup of internal structures.
Organisational rigidity is the result when people are separated in functional silos, when collaboration is instructed through hand-overs and governance, when go-see management is not practiced, when the daily work has no room for discontinuous innovation. Basically, such rigidity is the anti-thesis of Agile and impedes outward agility.
Scrum is a simple framework for complex product delivery. Scrum thrives on the self-organizing capabilities of collaboractive people creating finished versions of product in short cycles, called Sprints. Scrum is in itself agnostic of internal structures, positions, titles, hierarchies. Scrum has no mandatory rules for organisational constructs. Scrum is simple, not easy. The simple rules and roles of Scrum are most often twisted and broken to fit an existing organization. Yet, it is nearly impossible to benefit really from adopting Scrum without updating the internal operating systems.
The sensible and courageous way forward is to re-vers-ify, to re-imagine your Scrum to re-emerge your organization. It is a path, not the destination. The destination, an updated organization, is unknown, remains to be discovered.
Use Product Backlog as the single plan for one (1) meaningful initiative (project/product/service). Slice the initiative if it is too big.
Facilitate the eco-system with tools, infrastructure and a (Scrum) team zone in order for them to create sashimi releases. A controlled and automated deployment pipeline is certainly a much needed step forward.
Repeat, grow, learn, expand.
“Re-vers-ify” is a narrative to help people re-invent their organizations; an invitation for people to re-imagine their Scrum to re-vers-ify their organization. Over the course of 2017 I have introduced re-vers-ify in several ways. I have now highlighted the essence in a short movie. It takes only slightly over 3 minutes of your time. Enjoy!
Much has been said, is being said, and will be said about Scrum, the most adopted Agile process.
Scrum, in the end, is a simple framework for complex product delivery. Scrum has a limited set of mandatory rules and roles. They all serve to create an environment within which people inspect their work regularly, so they can adapt. Scrum is an open framework in the sense that people can employ a variety of specific practices. When these practices are employed well, the integral result is still… Scrum.
Despite/due to its popularity and simplicity, much misunderstandings exist. I highlighted the essence of the Scrum framework in a short movie. It takes less than 3 minutes of your time. Enjoy!
Where Agile is synonymous to ‘adaptive’, organizational adaptiveness comes through small, networked communities and ecosystems collaborating.
This will happen inside organizations, and across organizations. For many organizations the challenge is how to adopt such organizational setup. It is a critical challenge because it is the only way to wake up from the latent coma caused by size, cash and rigid structures. Many large organizations, in their current state, are dead already.
A Scrum Master is rarely seen, let alone enacted, as a management role. The role however does show us how a modern manager would act.
Scrum Master, as a modern manager, fosters an environment of safety. An environment of safety is an environment in which people, from a traditional point of view, act in a highly unsafe way; speaking up, challenging, sharing, thinking, pausing, collaborating, deviating, creating, innovating.
In the past I have already published my views on how Scrum Master is a manager. I have now highlighted the essence of the Scrum Master role in a short movie. It takes less than 3 minutes of your time. Enjoy!
Het is gewild. Het moest zo zijn. Met 1 lezing niet aan te komen. Aan mij, in mij. Terug te keren. De (meeste) gedichten zitten vol rechte lijnen en hoeken. Dat is te wijten aan de analytische lever (van het werkwoord “leven”) in mij, de overmatige denker, de ingenieur. Overgestructureerd.
Met als resultaat: kubistisch-hoekig gedoe.
M e e t l a t p o ë z i e
Swoon was zo vriendelijk om op basis van een proefbundel een gedichtje te laten inspreken door Arlekeno Anselmo en te onderbouwen met geluid, klank en beeldvormingen. Hij koos “Geheimpje van de dichter” uit. Een grappige keuze want het valt net buiten de bundel. Het bekijkt de dichter en zijn bundel van op een agnostische afstand.
Dit gedicht gaat over het dichten zelf. En ook weer niet. Als het allemaal voorbij is, de bundel gelezen, komt het zeggen dat al die voorbije woorden zichzelf niet waren, want dat er teveel verzwegen bleef. Moesten ze gesproken zijn, ze zouden zich moeten bewijzen, tonen dat ze waar zijn, en kan de dichter dat wel aan?
ps. Van deze site maakte ik met mijn Team nota bene in 2006 een eerste versie voor Peleman Industries, als Wwaow.com (“Worldwide Association of Writers”). Met de naamsverandering, naar analogie met het hoofdmerk Unibind, is de buitenkant blijkbaar hard veranderd, maar ik herken wel ‘onze’ binnenkant nog helemaal. Het ziet er allemaal wat meer flashy uit terwijl wij bewust sterk voor soberte hadden gekozen. En wij maakten zeker geen fouten in databaseverwijzingen, zoals gebeurt bij het opvragen van mijn bundel!
21 Years have passed since the publication of Batman: Year One, by Frank Miller. Year One is a strange sort of follow-up/prequel to Miller’s acclaimed Batman: The Dark Knight Returns. While the latter shows us the comeback of a tormented Batman, Year One takes us to the early year(s) of the caped crusader. How he came to be. 4 Chapters in 1 year.
(for year two and all the other years in between Miller’s works I fondly like the tales of Jeph Loeb, with graphics by Tim Sale and Jim Lee)
The graphics -somewhat pale and bleak-, the Bat costume, the gadgets, it all reflects the past times of the comic figure that Batman once was. A bit camp. Naive like the young man looking for revenge, subject to doubts.
In a ‘parallel parfait’ to Bruce Wayne’s search for a hidden identity, we witness how Gordon arrives in the Dark City of Gotham to take up his assignment in the corrupt police force. And how he deals with it (hard headed and using his fists). And with his workaholism, his commitment to the law, his loyalty towards his wife and (unborn) child. How his opinion on the giant Bat evolves from lawbreaking vigilante to ‘a friend who might be able to help‘ (when facing the new threat called The Joker).
And the earliest encounters of the Bat and the Cat(woman) make it clear that they are destined for a troubled and complex relationship. A theme that Loeb has brilliantly built on. And in Batman: The Long Halloween Loeb directly pursues the story of Year One but directing it towards the gangster theme through Frank Miller’s character of The Roman.
A personal favourite is the delicate, hidden romance of lt. Gordon and sgt. Sarah Essen. Just one of his personal struggles. Perfectly illustrated in coffee bar romantic moments (Nighthawks reluctant to go home):
Now, put together the works of Frank Miller, Jeph Loeb and Alan Moore (The Killing Joke). And recognize characters (like Harvey Dent, the psychopathic Branden), storylines and developments in Tim Burton’s Batman movies, as well in the new Dark Knight series.
The Papillon EP by Editors gives me excitement, like I only remember from feeling at the release of the An End Has A Start EP by… Editors.
The phrase ‘if there really was a god here, he’d have raised a hand by now‘ resonates the same down to earth coolness of ‘some things should be simple, even an end has a start‘. The dark vocals are now covered in electronics, but the band still rocks. Haunted. Caged. A papillon on an island.
Make our escape, you’re my own papillon.
IT KICKS LIKE A SLEEP TWITCH !
(can’t wait to get the full album, limited edition)
Shortly after its release on DVD I watched the Joy Division rockumentary by Grant Gee (much acclaimed for similar stuff on Radiohead -‘famous’ it seems-). Being a sort of old-skool fan I couldn’t escape the same sense of disappointment I had with Control. It was good, maybe even great in a way, but it certainly didn’t fully live up to my expectations. Not excluding my expectations to be the problem.
I regretted that Control didn’t fully capture the insights from Deborah Curtis’ heartbreaking book Touching From A Distance. The problem with this Joy Division rockumentary is that it is mainly a collection of people talking about the band, about Ian, but without much focus or coherence.
The influence and ‘atmosphere’ of the grey concrete of Manchester is visually well captured. The visionary approach of Martin Hannett-sound of breaking glass-.Peter Saville‘s graphics. Authentic footage. All… nice.
But nothing on Warsaw? Their early recording? And no clear chronology or backgrounds on the making of the music, the songs. Confirmation that those who survived (aka New Order) can’t sit in the same room. I only liked Stephen Morris’ funny nervousness, kinda like his drumming.
Deborah Curtis preferred not to appear in a movie with a certain Mrs. Honoré in, but her contribution would have been tremendously bigger.
So, finality? It will probably never be. There are just… opinions.
I certainly haven’t (yet). Because I first wanted to read the Watchmen book. As I (luckily) also did with From Hell and V for Vendetta.
As usually with Alan Moore it took me some time to get through it. Because of the figuring personas, their psychology and backgrounds, a complete society sketched and, not to be underestimated, the plot. Moore’s works are truly ‘Graphic Novels’, balancing images and narration (both of high quality). Guess why it took 4 years.
As usually with Alan Moore it was worthwhile. Certainly for Watchmen. In a historically twisted world, numerous layered tales are served, that eventually all interact and interconnect (with the Pirates’ book-in-the-book and its writer’s role as supreme example). The written intersections in the book (of varying ‘written’ nature) required my patience but added perspective. All to present a hyperoriginal perspective on superheroes, also behind the scene (how common), the early amateurism and marketing attempts of the masked avengers, their objectives, motives and ethics, the fact that they get old and… retire. No wonder that The Minutemen weren’t meant to last.
Alan Moore is without any doubt one of the greatest graphic novelists of our times. He gave us a complete hypothesis on the identity of Jack The Ripper and the motives and instructor for his outrageous killings, in an historical London with all its (dark) facets, in From Hell. Mediocre movie if you know the book. He told about this fascinating superhero-like character fighting a fascistoid authority in the truly haunting V for Vendetta (brrr, the scaring philosophy -liberating?- behind the torture scenes…). The movie was good, respecting main roles, colours and story of the book. He has not just written another Batman story with The Killing Joke, it soon became a well adapted standard for the becoming of Batman’s biggest opponent, The Joker. But Watchmen is the best I’ve read to date of Alan Moore. It really stands out with all its magnificent complexity. Sorry to say that The Ballad Of Halo Jones was just good, entertaining above all. Others would kill to be able to write it, I guess.
Now I will sit and wait. To watch the Watchmen on DVD (director’s cut).