Starting with Zenko Mapping

I was delighted to be asked to speak at the Marketing Society’s Brave Get Together conference today, especially given how many people are looking for new ways of working at the moment.

So I put together a little film as an introduction to Zenko Mapping, a tool I’ve been developing for the last six years or so. It’s a project mapping tool, and helps you to ‘do the next right thing’.

I’ll put a link to the film here in future, for the moment I just wanted to share two things.

Firstly, the basic Zenko Mapping template, for people to play with at their leisure (if you weren’t at the conference, it’ll make slightly more sense when I post the video.)

And secondly, I was also making an origami fox throughout the film, and so thought I’d share the instructions for that too.

Playing the hand you’re dealt

I’ve been thinking a lot about Assemblage. It’s been prompted by Anab’s inclusion of it in her More-Than-Human-Politics manifesto, pointedly positioned against Systems (“Assemblages are diverse, indeterminate and precarious… Acknowledging the entanglements without the desire to have the ‘full overview’”).

It also took me back to some of the thinking I originally did around Artefact Cards specifically, and more recently working with information particles generally, and a few other conversations and pieces I’ve been working on in the background.

This week, I started playing with a short explanation, which felt worth sharing:


An assemblage is like being dealt a hand of cards for the first time, in a game you don’t know the rules for.

You have these five cards in your hand, of a mix of suits and numbers, and you have to work out what to play, and how to do it. When the time comes, you play some cards as best you can, but you lose that first hand. Yet you saw what was going on, and figure that you might have a better chance at working out the overall game come the next hand.

Except when you are dealt your new hand, it contains a new suit you’ve never seen before, and a number that you didn’t know existed. You’re not sure what the new suit means (is it more senior than other suits? Equal?), and from what you know of numbers, you try and establish where this one might fit in a ranking. Additionally, the previous work you put in to trying to establish the rules of the game is now potentially of lower value, though it’s hard to let go of answers you think you’ve worked out.

You play, and of course you lose that hand as well. But again you learn more about how to sort through the cards you’re likely to be holding in the next round.

So when the third hand arrives, containing another unfamiliar suit, moderately taxing algebra, a postcard from a relative, and some cheese and pineapple on a stick, you’re at least a bit more prepared for the possibility that different things will turn up that don’t fit in with your expectations.

Thinking in systems asks that you work out the rules of the game.

Thinking in assemblages helps you become better at playing the hand you’re actually dealt.


Postscript: There’s a lot of diverse and interesting debate and discussion around what Systems Thinking actually is, of course, but I’m blithely operating under the following rule of thumb for now – “If you mean constantly moving and changing things, maybe you shouldn’t use the word ‘system’?”

What does good thinking look like?

Earlier this week, I posted up the four images above on a twitter poll and on instagram, and asked the simple questions; A, B, C or D? No context, just that – of the four images, which would you choose. I’d said I’d explain a bit about it, but first though, what were the results?

Twitter folks go for D, then A:

Instagram folks are kinda similar, though it’s a much smaller sample size. The reactions, when people sent some additional thoughts, are also really interesting, but in particular I’m going to draw attention to Richard‘s comment here:

The real extremes in the test are A and D, to my mind.

The former is a solid, simple structure that’s trying to do one thing. All the colours are aligned, all the gradients are consistently directed. As Fraser said in his response, “a designer’s designer would say A“.

The latter, D, has a whole lot of things going on.

At first, it just feels a bit like random chaos, especially in context with the others. But then as you scan it a bit more, looking more closely, or holding it at arms length, it starts revealing different things. Richard’s idea about it making the mind feel ‘kaleidoscopic’ is bang on, I think.

Beyond playing with delights of isometric shapes and gradient effects though, I did promise to explain a bit more about what it’s for though.

Last year, various streams of work and teaching the Innovation & Future Thinking course at IED in Barcelona made me start wondering about revisiting the underlying tools and frameworks of Smithery’s work (Strategy, Prototyping, Culture, Design, Innovation… etc), and how all of those things connect. The last time I’d done this was back in 2014, when a month of blogging every day produced a set of theories and practices which formed the backbone of the following five years’ work.

Back in January, in ‘the before’, I gave a talk called “A Blacksmith Makes Their Own Tools“, which set the seeds of the reading and reflection on our work so far since starting in 2011. Then these past couple of months have provided a brilliant opportunity to get torn into that work properly, and start to shape a few early parts of the new work, of which the images are part.

What I’d been working on was a graphic representation of a basic information process, from sensing what’s out there in the world, through to the actions people take as a result. It pulls on a few pre-existing models already (Boyd’s OODA loops, some of Boisot’s information space) as well as some other reading I’ve been doing, and it’s not finished as yet. As a basic general framework, it’s a fairly useful starting point for me at the moment, and would already serve as a useful tool in asking questions of clients or students (Where do we get information from? How do we process it? What filters can we identify that prevent some information getting it?) in order to identify intervention points and practices to deploy.

I’m not going to dwell on it a lot now, but come back instead to the “A versus D” thing from above, as to which best represents the ‘in here’ part of the model. In short, what does the processing of information look like internally, be it as an individual (the things in your head) or an organisation (the knowledge we hold)?

Now, if I’d framed a question around this (perhaps ‘which of these represents thinking?’ or something similar), and presented people with the four images, I would imagine the answers would be very different. We are aware of the unstructured nature of our own minds as much as we are of the information and knowledge that resides inside the organisations we populate.

I would argue though in this context, the neatness and perfection of A is likely not what we’re looking for in these terms; the Sisyphean task of organising all our ideas and workflows into perfect order, I think, will remain forever beyond the grasp of people. Which opens up the question; if striving for perfection in structure is a futile goal, then what should we be aiming for instead? What does good thinking look like?

Anyway, that’s the next couple of months of thinking and writing sorted – pursuing the above and the themes obliquely sketched out below. I’ll be sharing more as soon as it is ready (and maybe an additional post on why it’s not following the same process as a month’s worth of blogging from the last time). Thanks to everyone who played along with the picture experiment.