So, to generalize a bit here: in a highly organized system, the causation is more pronounced and intentional. The elements seem to have been more precisely selected. Things escalate decisively; everything is to purpose.
A more highly organized system is just, you know, better.
The obvious question for the artist, then, is: How do I get my system to be more highly organized?
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This brings us to a central truth about organizations: they are inherently messy. There are no panaceas, no structures that solve all problems. Any attempts to completely eliminate the mess are doomed to failure. Yes, there are costly inefficiencies in decentralization, but the fire of personal ownershipâof being our own little businessâelevates human motivation and stimulates innovation in powerful, albeit somewhat chaotic, ways.
We need to move from competitive ideation, trying to push our individual ideas, to collective ideation, collaborative ideation. It isnât about having the number one best idea, but having ideas that come from, and work for, more people.
When we speak of systemic change, we need to be fractal. Fractalsâa way to speak of the patterns we seeâmove from the micro to macro level. The same spirals on sea shells can be found in the shape of galaxies. We must create patterns that cycle upwards. We are microsystems.
Put slightly differently, the behavior of the whole canât be predicted by the behavior of the parts examined separately. Only by considering the relationships between parts can you explain a systemâs behavior. There are man-made systems and nature-made systems. In every case, how elements interrelate is what matters most. Consider the striking difference between graphite, the soft gray substance in pencils, and a diamond, that sparkling gemstone so prevalent in engagement rings. Although we know them as profoundly different substances, both consist exclusively of carbon atoms.
An organisation does things, and it systematically does some things rather than others. But thatâs as far as it goes. Systems donât make mistakes â if they do something, thatâs their purpose. But it also works the other way around. Systems donât have inner desires, so they donât do things intentionally either. Thereâs just a network of cause and effect. We might think theyâre conspiring, but theyâre working within structures that made the outcome inevitable. Or we might see everything as a terrible cock-up, but we donât understand that the outcome was the inevitable result of the way the system works.
The overlapping of different systems â and the tendency of individuals to have different roles at different levels of abstraction â is a key part of Beerâs theory, and one of the main reasons why his diagrams got so complicated. He claims that every âviable systemâ needs to have all five of the functions described so far in order to be capable of long-term survival, but that every such system can also be seen as System I within a larger system. Similarly, since we defined System I as part of an organisation that could in principle be a viable separate organisation, the internal management of System I needs to have its own equivalents to systems 2, 3, 4, and 5; it needs internal regulation, optimisation and intelligence, and a balancing, identity-preserving function of its own.
Often, when youâre trying to diagnose why a system is failing, you need to consider both the larger system in which itâs embedded and the organisation within its operations. A great source of management problems, for example, is that organisations often fail to identify some of their operations as distinct systems, and so they lack their own internal âhigher functionsâ. A division of this sort will generally be a âproblem childâ; unable to absorb its own environmental variability, it will bounce from crisis to crisis, taking up disproportionate time and effort on the part of the middle managers to which it has been assigned.