Think Week (Change Week)

Posted on February 23, 2018


I recently completed my version of a think week, taking some time for reflection in New York and West Texas during a natural work transition. My think week was apparently less stringent than the isolated-cabin-in-the-woods version of the think week, but I also oriented more toward actionable changing in addition to just thinking. Here are five questions to consider when structuring a think (change) week:

Confirm Commitment

Do you really just want a vacation? If you’re primarily looking for a break from work, consider taking a nice vacation. You can step away from usual routines, visit different places, and socialize with friends and family. You can physically and mentally refresh. A vacation is not the same as an intentional, structured, immersive thinking experience. In my case, I knew I wanted a solo week with more intellectual stimulation than a typical vacation.

Set Objectives

What do you want to accomplish from your think week? As you develop contextual goals for your think week (and you definitely should have goals of some sort), consider the active mind’s continuous cycle of saturation-incubation-illumination. Saturate with new information, incubate to form your understanding, and illuminate to actionable ideas. Many think weeks are focused on saturation (read 100 articles, etc.), which is great, but it’s worthwhile to take things further in the cycle. I personally had objectives related to saturation (art immersion), incubation (idea engagement), and illumination (mindset shifts).

“Time allows us to saturate our mind with context, so we can incubate and spark the eureka moments of illumination that connect the dots, snap together patterns, and discover the options that allow us to find our paths.” –Pete Blaber

Work a Plan

What is the optimal ecosystem for your think week? Intentionally select an environment suited to your objectives. Consider your preferred levels of seclusion, stimulation, convenience, etc. as well as timing and location. Determine what to bring with you and what to set aside. Set a simple schedule for each day going into the week to help provide structure and minimize random activities. My week had an art theme and an intentional urban-rural contrast, hence New York and West Texas.

Leave Space

How will you adapt your schedule during your think week? Build enough flexibility into your week to incorporate positive distractions. Rather than overloading your week with expectations and to-do lists, focus on a few key items each day and maintain a more natural cycle. Lingering on an activity of interest? Fine. Dinner runs long? Fine. Topics pivot into more exploration? Fine. Have the space to chase ideas and evolve the week as you go. I wouldn’t have stumbled upon Aki Onda if I had kept a super tight schedule, for example.

Make Change

What will you do differently after your think week? Develop your thinking into tangible actions to realize change. Identify things you can do (or stop doing) immediately as you complete the think week. Having brought Russell Brand’s Recovery book on my think week, I spent a fair amount of time thinking about addictions, and more precisely how to either bolster or break routines and habits to better align my life. Thinking has to get to action to be meaningful, even if the action is stripping away other action.

Summary think week (change week) checklist:

  • Confirm Commitment – Do you really just want a vacation?
  • Set Objectives – What do you want to accomplish?
  • Work a Plan – What is the optimal ecosystem?
  • Leave Space – How will you adapt your schedule?
  • Make Change – What will you do differently?


Sounds Extreme

Posted on December 10, 2017


The Cooper Hewitt, Smithsonian Design Museum sits on New York’s Upper East Side in a renovated Andrew Carnegie mansion. When Carnegie purchased the land in 1898, it was more than a mile north of what was then considered fashionable society and many levels removed from the deafening steel mills that accelerated his fortune. It seems he wanted space for a garden.

On a sunny Sunday morning in October of this year, the Cooper Hewitt galleries are quiet with only a few visitors at such an early hour. I break the silence by tapping a few keys on a dot piano in the Designing with Sound exhibit. The notes present a stark reminder of how sound surrounds us, how sound influences us, and how sound is often most noticeable in its extremes – the overwhelming excess in its presence or the overwhelming quiet in its absence.

“It’s this hidden actor in our lives that changes our mood in an instant, guides our choices and makes or breaks emotional connections.” –Joel Beckerman

Discovering Sound: Max Neuhaus in Times Square

In an understatement, artist Max Neuhaus described Times Square as a “rich and complex” aural and visual environment. From a sound perspective I’d call it noisy. Vehicles rumble by with horns honking, tourists wander through excitedly chattering, and commuters stride across metal clattering. It’s a veritable Dr. Seuss soundscape.

So it’s really no surprise that Neuhaus’s Times Square sound installation often goes unnoticed or is easily dismissed as machine noise emanating from underground. Standing by it on the 46th Street and 7th Avenue pedestrian island, 2.5 miles south of the Cooper Hewitt, I see no one else acknowledge the installation or the sound. While for me, the sound anchors my environmental perception in the area, and the island is a different place.

“It’s meant for people who are ready to discover” –Max Neuhaus

Exploring Sound: Aki Onda and Akio Suzuki

Four days later Aki Onda walks past me in a dark performance hall rapping an object on the wall. Akio Suzuki, an older artist who first explored how sound can be part of a performance by throwing “a bucket full of junk down a staircase” at Nagoya train station in Japan, stands at a table in the middle of the hall. Suzuki and Onda are sound artists on their fu-rai North American tour, and I’ve happened on a performance in Marfa, Texas.

Rocks click, bottles tap, rubber squeaks, and amplifiers hum into space as Suzuki and Onda explore the “infinite and variegated possibilities” of sound. In an otherwise hushed room (an extreme away from the Times Square environment), each isolated sound dominates the senses, and the crowd appears transfixed. Walking into the evening afterward, the crunching gravel underfoot sounds at least twice as loud as usual, and I consciously slow a few footsteps to hear the variety.

“Some musicians, when they play, they imagine the notes, but I’m the opposite, I imagine the soundscape.” –Aki Onda

Integrating Sound: Artists at Work

I continue to notice sounds and extremes over the next month. In New Orleans, I see how some venues are structured around stages (and all that jazz), how some performers integrate into existing structures, and how The Music Box Village in the Bywater neighborhood serves as a musical playground of sorts:

At home in Minneapolis I hear the different ways conductors announce the arrival of light rail stops, the extended way sound carries across theater stages, and the flow of DJs working holiday parties. I’m reminded that some designs are intentionally constructed around sound – Warner Brothers drew full animation cartoons around Mel Blanc’s voice, after the voice was recorded, to better synchronize lip movements – while other designs treat sound as a byproduct. You can guess which designs work better.

“Sound design is part of the interaction design process, and not something to be tacked on to the end.” –Aaron Day


Double Negative

Posted on April 16, 2017


In 1969, artist Michael Heizer began displacing 240,000 tons of rock in a Nevada mesa. Dynamiting two facing trenches across a canyon, he cut downward into the earth, contrasting both the canyon ridge and physical art structures built upward into the sky. When he finished in 1970, he left behind negative space in the landscape and one of his first monumental earthworksDouble Negative.

Nearly fifty years later I wait alone in the darkness above the mesa, listening to the wind and watching for sunrise. As dawn breaks over the desert, I hike into the North cut and toward the Virgin River below. Sometimes it’s not what you add, it’s what you strip away.

“There is nothing there, yet it is still a sculpture.” –Michael Heizer


Future You

Posted on January 8, 2017


My best personal planning occurs when I consider the context of my situation – past, present, future – and act in the best interest of my future self. In its simplest form it’s asking, will I tomorrow be pleased with the decisions I make today? Especially as New Year’s resolutions start to fade into post-holiday realities, I encourage you to plan – and progress – the optimal future you.

The Past

Recognize the connection of past decisions to present situations. Personal histories in health, in education, in career, in relationships, etc. are too frequently rationalized in hindsight, rather than fully related to the present. In financial hardships, for example, the real villain is often the victim’s past self. The point is not to beat yourself up over past decisions, it’s to recognize how your decisions impact your situation. As one of my colleagues likes to say, life is not a series of independent events.

“These are but shadows of the things that have been.” –Ghost of Christmas Past

The Future

Your future is a chance to begin again. The future you will have a personal history that includes where you are today plus the decisions you make up until the next point you look back. Even with a debilitating illness, you can embrace a version of yourself that you positively influence. Take ownership of your future self.

“You are what you choose to be tomorrow.” –James Altucher

The Present

This is where the work happens to create your future. Take one step at a time if dramatic transformation is difficult. As long as steps are in the desired direction, you’re making progress. Make mindful trade-offs between what you do and what you don’t do, between the present you and the future you.

“You have to participate in your own recovery.” –Gregg Popovich

Ask yourself – Where do I want to be in the future? How will I get there on an acceptable timeline? Are my decisions helping or hindering my future self? – and align your actions this year. The future you will appreciate it.


Collect, Edit, Showcase

Posted on June 30, 2014


Much of my consulting work (the work within the work, so to speak) involves collecting, editing and showcasing information. The more successful the project, the more likely each of these processes has been well planned and executed, even if they are only underlying activities within the project.


Gather information relevant to the question at hand. Understand the context, obtain qualitative and quantitative data (note: the most challenging step in data analysis is usually getting the data) and review opinions from a wide range of sources. Consider the source of the source. Compare to prior experiences, existing knowledge and recent trends. Begin to analyze and fill in gaps.


Perform analysis iterations using an appropriate framework. Understand the evolving conclusions and messages. Prioritize and conduct further research. Focus on conciseness and eliminate non-essential information. Determine whether this is a crisis and the appropriate level of response. Editing is the most neglected of the three processes, and similar to the study of history, it’s easy to forget the biases influencing the facts.

“The study of ancient history is as much about how we know as what we know, an engagement with all the processes of selection, constructive blindness, revolutionary reinterpretation and willful misinterpretation that together produces ‘the facts’…out of the messy, confusing, and contradictory evidence that survives.” –Mary Beard


Package and share the findings. Tailor the form, frequency and mode of communication to the important of the message and the intended audience. Establish or connect to existing mechanisms in order to archive and sustain the material.

When done well, these processes logically connect to a structured outcome, one that can be traced back and forth in the sequence. It also brings an awareness that when you receive a message, you’re usually only seeing one part of the showcase process.



Posted on June 22, 2019


A yoga teacher once told me: practice really starts to change once you do it three to four times per week. It’s a general threshold to more meaningful results, and a point to consider more broadly. What is the input necessary to get our desired output? When can we expect to see a difference? Is there a minimum effective dose? Some things won’t change until we reach a certain threshold, some things are impacted by thresholds of others (see Granovetter’s model and Malcolm Gladwell), some things require maintenance to stay within a threshold, and some things might even be irreversible after reaching a certain threshold. It helps to know what moves the elevator.

“The difference between success and failure typically depends on the number of times a new group arrives, and in what strength.” –A Voyage Long and Strange



Posted on May 18, 2019


Balance long and short memory. Long memory to understand context and relevant history. Short memory to focus on the most critical factors in the moment. Long memory to avoid rash decisions. Short memory to minimize grudges. Long memory to know where you came from. Short memory to keep only the best of it into the future. What we remember matters.



Posted on November 24, 2018


Would you rather have one 100 minute meeting or 100 one minute meetings? Perhaps something in between? Logically spacing discussions, presentations, or other interactions is a way to methodically engage. It’s a similar concept to chunking of information for retention. Space to hear. Space to understand. Space to absorb.

Spacing can also demonstrate commitment. Does everyone care enough to consistently make space for this? Is this a one-time thing? Are there other more pressing priorities? What will I eliminate to ensure space for the things that matter? Intentionally create and use your space.