index
A
Accelerating curves, 131, 136–137, 153
Actions: causing other actions, 176–177; cyclic influences on, 145–146; evaluating options for, 217, 234–235; involved in decision making, 173–174; irrelevance of, 198; knowing when to take, 10–13; patterns in overlapping, 173–174; punctuation separating, 49–50; rate-reducing dilemmas in financial, 119–120; resulting from timing analysis, 217, 235; viewing with polyphony lens, 161, 181
Ahern, Bernie, 15
Albers, Josef, 215
Ali, Muhammad, 109
Alignment: changing track, 229; of temporal punctuation, 58–59, 76
Amplitude: amplifying effect of events, 178; of cycles, 141–142
Analysis paralysis, 236
Anderson, Howard, 153
Apple, 119
Arcs. See also Curves: dramatic arcs, 131, 137–138, 153; finding in meetings, 208; narrative, 152
Aristotle, 212
“As Furniture Burns Quicker, Firefighters Reconsider Tactics” (Goldstein), 223, 225–227
Asynchronous events: advantages in, 174; risks related with, 188, 189, 236–237; solving synchronous risks with, 171–172
B
Becker, Jo, 47
Beckett, Samuel, 239
before precision, pattern, 151
Berger, John, 155
Bernake, Ben, 171
Bernstein, Leonard, 11
Bertarelli, Ernesto, 71
Bhagavan Gita, 246
Biases toward shapes, 151–152, 153
Blair, Tony, 15
Bluedorn, Allen, 42
Bouazizi, Mohamed, 8
Boundaries, 200
Brady Center to Prevent Gun Violence, 47
BrainyQuote, 42
British Board of Trade, 105
Brucker, Dan, 172
Bubbles: asymmetry of financial, 142; considering in problem solving, 150–151, 154; giving attention to, 130
Businesses: anticipating missing punctuation in, 59–60; choosing sequence duration in, 37–38, 44; considering vertical dimension of, 161–162; cooperation within, 177; deliberately inverting sequences in, 37; elements for analysis in, 18–19; estimating implementation of ideas, 79–80; evaluating conflicting interests, 60, 76, 107; finding longest relevant sequence in, 33–34; influence of competition in, 177; intervals obscured by language in, 95–96, 106; model for endings, 69–70; planning exit strategies, 64–69, 76; polyphonic opportunities in, 185–186, 187–188; relabeling intervals, 93–94; skipping sequence steps, 39–40, 45; speeding pace of change, 70–71; temporal punctuation in, 60–67, 73–74; timing exits in, 67; viewing as musical scores, 225, 244–245
C
Callahan, Daniel, 68
Calment, Jeanne, 87
Camus, Albert, 239
Cat-point thinking: effects of, 38, 41; ignoring interval steps with, 98, 106; missing sequences with, 35
Centers for Disease Control, 32
CEOs. See Management
Change. See also Rate: biases toward positive, 153; pace of, 70–71, 109–111; recognizing in goals, 167; tracking reactions to, 166–167
Circadian rhythms, 150
Closure. See also Exit strategies: accelerating, 62, 72; events creating, 69–70; postponing, 72
Coleman, Norm, 57
Commas: function and strength of temporal, 53; inserting pause in meetings, 199; replacing periods with, 70–71
Competition within companies, 177
Consumer Federation of America, 33
Contents of intervals, 91–93, 101, 105, 107
Control: controlling tension, 72; over time, 179–180
Cooperation within companies, 177
Copland's Constraint: about, 6, 189; applied to synchronous requirements, 76; factoring into multiple processes, 158–159; missing information because of, 7, 156
Credit default swaps (CDS), 136–137
Cry of the Halidon, The (Ryder), 112
Curves. See also Cycles: accelerating/decelerating, 131, 136–137, 153; cost-of-error, 233–234; defined, 131; dramatic arcs, 131, 137–138, 153; overview of, 153; S-curves, 131, 138–139, 153; sketching and naming, 151; tandemizing shapes of, 148–149
Cycles: amplitude of, 141–142; defined, 131, 153; finding in meetings, 206–207; helix, 131, 146–148, 153, 207; influencing future action, 145–146; linkage between, 144–145; number of, 143–144; parts and phases of, 140–141; periods within, 140; predictability of, 144; smoothness of, 142–143; symmetry of, 142; types of business, 139–140; vicious, 28–29, 146
D
Da Vinci, Leonardo, 86
Dali, Salvador, 86
Darwin, Charles, 41
Date rules, 231
Deadline as punctuation, 200
Decelerating curves, 131, 136–137, 153
Decisions. See also Management; Problem solving: actions involved in, 173–174; balancing speed of, 218; finding event's timing, 216, 217–218; making from point-and-fan shapes, 207–208; rescaling, 197–198
Delays: dealing with sets of problems, 90–91; sequencing of, 32–33
DeLillo, Don, 86
Diagrams. See Musical scores
Direction of rate: considering, 118–119; questions assessing, 112; risks associated with, 122, 127
Disclosure rates, 125
Dissent in meetings, 191, 209–211
Doha Development Round, 144–145
Dollar auction, 66
Dove, Rita, 160
Dramatic arcs, 131, 137–138, 153, 208
Dudley, Bill, 142
Dunlap, Robert, 173
Duration. See also Interval and duration: choosing right, 37–38, 44; defined, 18; evaluating characteristics, 26, 27, 31; of events, 85; of rate, 112, 117–118, 123, 126, 127
E
Economic issues: amplitude of cycles in, 141–142; asymmetry in stock market cycles, 142; effect of misaligned punctuation on, 58–60; impact of lockup expirations on, 50–51; intervals between Moody's ratings, 99–100; intervals in Lehman Brothers' crisis, 31; observing intervals in, 87–88; posting returns as straight lines, 134–135; punctuation in financial transactions, 30–31; rate-reducing dilemmas in, 119–120; rates of change in, 115–117; sequences in 2008–2009 credit crisis, 34; shape of credit default swaps, 136–137; speeding pace of change in, 70–71
Economist, 120
ED2 + R intervals, 99, 201–202
Einstein, Albert, 174
Elasticity of intervals, 100, 106
Ellison, Larry, 71
Ellsberg, Daniel, 178
Embraer, 149
Endings. See also Exit strategies: Delete Design Model for, 69–70; impact of, 3; multidimensionality of, 68
Entrainment, 179
Envisioning last sequence steps, 35–36
Errors. See also Risks: cost-of-error curves, 233–234; cyclical patterns in auto accidents, 140–141; evaluating interval content, 91–93, 101, 105, 107; finding significant intervals between numbers, 96; horizon, 99
Euclid, 92
Evaluating conflicting interests, 60, 76, 107
Evaporated property, 116
Events. See also Overlapping events: amplifying effect of, 178; breaking into tracks, 157; considering where interval occurs within, 101, 106; creating closure in, 69–70; eliminating need for synchronous, 185–186; endings to, 62; horizontal dimension of, 18, 158; including qualitative assessments of, 167–168; influences among multiple, 156; masking effects of, 177–178; missing patterns in synchronous, 6–7; moving from serial to parallel, 162–163; noticing goal changes for, 167; one-time windows of opportunity, 232; perceiving Polyphonic Risk of, 82; polyphony and synchronous, 187–188; removing periods from, 70–71; repunctuating, 199; risks related with asynchronous, 188, 189, 236–237; structural relationships of, 156; synchronous requirements for, 159, 173–176, 189; timing decisions in, 216, 217–218; tracking reactions to change, 166–167; types of intervals for, 83, 84–85, 105; unpreparedness for parallel, 157–158; using polyphony in tracking, 157–160; vertical dimension of, 18–19, 158–159, 161–169; viewing with polyphony lens, 161, 181
Exit strategies: assigning blame to decisions, 67; considering intervals when ending, 80–83; Delete Design Model, 69–70; identity and status in, 65; multidimensionality of endings, 68; temporal punctuation creating, 64–69, 76; timing based on cost/benefit, 65
Extension of sequence, 27, 33–34, 44
F
Fifth Symphony (Beethoven), 16–17
Firefighting score, 220–222, 225–227
First-mover advantage: consequences with, 11–13; providing cancer patients with, 82–83
Fixed and variable intervals, 89
Florida Today, 149
Franken, Al, 57
Friedman, Thomas, 183
Fukashima Daiichi nuclear plant, 86
G
Gandhi, Mahatma, 191
Gaudí, Antoni, 92
Gee, E. Gordon, 100
Giffen good, 165
Giffen, Robert, 165
Giffords, Gabrielle, 47
Gleichschaltung, 180
Global issues. See political issues
Goal changes, 167
Goethe, Johann Wolfgang von, 248
Goldman Sachs, 142
Goode, John, 50
Goodhart, Charles, 186
Great Depression, 171
H
Haig, Jr., Alexander M., 53, 70
Harris, Anthony, 177
Harvard Dictionary of Music, The, 239
Health care: applying knowledge of influences to, 186–187; circadian rhythms used in, 150; cost shapes with HMOs, 143; inverting sequences in, 37; missing pace of change in HIV virus, 110–111; phantom pain treatment, 185; reviewing intervals in, 82–83, 103–104; sequencing delays in, 32
Healy, George K., 223
Helix: defined, 131, 153; meeting shape as, 207; timing cycles with, 146–148
Henigan, Dennis, 47
Highlighting point of order, 202–203
HIV testing, 32
Homer, 1
Horizon errors, 99
Horizontal dimension: finding elements within, 18, 158; listing for events, 219–220
Horn, Roni, 109
Hyperconnectedness, 183
I
Incompatible alternatives, 148
Independence from influences, 180–181
Indispensable alternatives, 148
Inelasticity, 106
Influences: amplifying effect of events, 178; benefitting from knowledge of, 186–187; cancelling each other out, 178; causing other actions, 176–177; control over time, 179–180; finding polyphonic, 161, 176, 188; imitation and entrainment in, 179; independence from, 180–181; masking effects of events, 177–178; substituting tracks, 180
Ingrebretsen, Mark, 13
Instagram, 80
Interval and duration: applying lens of, 201–204; characteristics of, 26, 27, 31, 44; choosing right duration, 37–38, 44; considering in exit strategies, 80–83; definition of interval, 18; determining interval size, 89–91, 105; elasticity of intervals, 100, 106; estimating interval length, 79–83; evaluating contents of, 91–93, 101, 105, 107; finding opportunities with, 102–104, 107; fixed and variable intervals, 89; giving meaning to intervals, 93–94, 106; identifying ED2 + R intervals, 99, 201–202; ignoring steps with cat-point thinking, 98, 106; including intervals in firefighting score, 221; listing for time analysis, 220; looking for interval envelopes, 84–91; misinterpreting intervals, 101–102, 106, 107; missing interval locations, 101, 106; norms on interval length, 100, 106; objective/subjective dimensions to, 91, 105; overview of, 105–107; risks of, 95–102, 106–107; shapes filling, 92–93; solutions finding intervals, 102–103; time line thinking about, 96–98; types of intervals, 83, 84–85, 105; updating views of intervals, 104–105; working with multiple intervals, 94–95, 106
Interval Envelope: defined, 85–86; determining size of, 89–91, 105; finding, 83, 85–86; with fixed and variable intervals, 89; magnet rule of interval size, 91; minimum/maximum length of intervals in, 86–88; risks of too long or short intervals, 99–100
Intrinsic punctuation, 199
Inverting sequences: advantages of, 41, 44; example of, 196–197; intentionally, 37; opportunities in, 37; unwittingly, 35–36
Investments: cycles of, 142; hyperconnectedness in, 183; Polyphonic Risks of, 181–182
Inviolate alternatives, 148
Ives, Charles, 245
J
Jobs, Steve, 91
K
Kamen, Dean, 28
Keatinge, Dr. William, 186–187
Kimberly, J., 70
Kolata, Gina, 111
Kramer, Lawrence, 245
Kreiger, Mike, 80
Kumaritashvili, Nodar, 2
L
Last-chance rule, 204
Leaders. See Management
Lines: defined, 131, 153; dividing into past, present, and future, 135–136; evaluating straight, 133–135
Location: changing sequence, 39, 45; choosing punctuation's, 54–55, 71–72, 74, 75; missing interval's, 101, 106; significance of sequence, 27, 32–33, 44
Logical functions, 52
Loughner, Jared L., 47
Low-cost eyeglasses, 29
Ludlum, Robert, 112
Luo, Michael, 47
M
Magnet rule of interval size, 91
Magnitude rule, 49
Main-Traveled Roads, 145
Management. See also Meetings; Planning; Problem solving: anticipating timing factors in, 13–14; benefitting from input of subordinates, 212–213; considering cyclical patterns, 140–141; decision making from point-and-fan shapes, 207–208; describing situation, 216, 217–218; evaluating options, 217, 234–235; identifying timing risks, 234; learning timing skills, 23–24; suffering analysis paralysis, 235–236; using shapes in problem solving, 129–131, 150–151, 153–154; using timing analysis, 16–20, 215–216
Mandal, A. C., 163
Masking effects of events, 177–178
McNamara, Robert, 178
Meaning: added to rates, 112, 119–120, 123, 127; giving to intervals, 93–94, 106; of punctuation marks, 54, 75; questions interpreting rate's, 125
Medvedev, President, 49
Meetings: applying interval and duration lens in, 201–204; applying rate lens to, 205–206; applying sequence lens to, 196–198; awareness of time in, 203; creating boundaries with punctuation, 200; dramatic arcs within, 208; establishing common values in, 200–201; example transcript of, 191–196; punctuation lens applied to, 198–201; repunctuating flow of events in, 199; timing dissent in, 191, 209–211
Metro-North Commuter Railroad Company, 172
Minimum/maximum: interval lengths, 86–88; rates of change, 112, 113–117
Misaligned punctuation marks, 58–59
Misinterpreting: intervals, 101–102, 106, 107; temporal punctuation, 63, 76
Misreading temporal punctuation marks, 60–67
Missing: information because of Copland's Constraint, 6–7, 76, 156, 158–159, 189; interval locations, 101, 106; pace of change, 110–111; punctuation, 59–60, 76; sequences, 34–35, 44
Moore, Henry, 129–130, 149–150, 152
Moore's law, 136
Motivation, 66
Multiple intervals, 94–95, 106
Music. See also Musical scores: chords as image of vertical dimension, 175–176; coda, 239; finding time to act in, 11; listening to multiple melodies in, 6–7; polyphony in, 155–156
Musical scores: adjusting loudness of tracks in, 229–230; adjusting size of, 223–225; analyzing timing similar to, 16–17; businesses as, 225, 244–245; finding relationships among tracks, 222–223; firefighting, 220–222, 225–227; horizontal dimension of, 18, 158; including different timescales, 228; modifying diagram of, 229–230; playing national anthems simultaneously, 239–241, 243–244; sketching, 216, 218–222; using P4 strategy to make, 230; vertical dimension of, 18–19, 158
Mydans, Seth, 79
N
Narrative arc, 152
National Book Award, 86
National Marriage Project, 102
National Transportation Safety Board, 171
Network of tracks, 180
New 21st Century World Symphony, The, 240–241, 245
New York Times, 33, 35, 72, 82, 87, 90, 111, 141, 150, 157–158, 182, 183
Newton, Isaac, 166
No gap, no overlap rule, 58
Nokia, 91
Normal rate (N-rate): about, 112–113, 126; defined, 126; questions assessing, 111, 122; risks associated with, 122, 127
Norms on interval length, 100, 106
Norris, Floyd, 182
Notebooks (Camus), 239
Numbers: of cycles, 143–144; errors finding significant intervals between, 96; of punctuation marks, 55–56, 73–74, 75; of rates, 112, 120–121, 124, 127; of tracks to find C value, 168–169
O
Objective/subjective views: of intervals, 91, 105; of punctuation, 53, 75; of rates, 112, 119, 123, 127; recognizing subjective clock, 204
Objects associated with temporal sequences, 42–44
Oliveira, Antonio, 99
Oliver, Mary, 140
Opportunities. See also Windows of opportunity: associated with punctuation, 64–69, 76–77; created by polyphony, 184–187; creating exit strategies, 64–69, 76; finding in sequences, 36–40, 42, 44; found in overlapping patterns, 185–186; with interval and duration, 102–104, 107; shape risks and, 149–152; using rate lens, 124–126
Order: defining sequence, 26, 27–29, 44; highlighting point of, 202–203
Overlapping events: advantages in, 172; inability to find patterns in, 156; reviewing, 169–173, 189; viewing vertically, 161–163
P
Patterns: finding with musical scores, 230; found in timing analysis, 16–20, 215–216; inability to find with overlapping actions, 156, 189; missing in synchronous events, 6–7; organization of components in book, 20–21; pattern risks in punctuation, 63, 76; precision and, 151; recognizing temporal architecture of, 19; viewing musical scores as, 245
Pepper…and Salt cartoon, 35
Performance punctuation, 74–75
Periods: creating with exit strategies, 64–69, 76; function and strength of temporal, 52; inserting too soon, 62, 76; removing from events, 70–71; replacing with commas, 70–71; subtracting, 76; within cycles, 140
Perkins, Tom, 129
Petroski, Henry, 183
Phantom pain treatment, 185
Planning: anticipating supply and demand, 165; benefitting from knowledge of influences, 186–187; estimating length of intervals for, 79–83; exit strategies, 64–69, 76; number of punctuation marks, 55–56, 73–74, 75; overlapping events, 172; remembering helix in, 147–148; time-impoverished descriptions for, 3–5
Point-and-fan shapes, 132–133, 207–208
Political issues: developing chronology for, 8–9; inserting period too soon, 62, 76; playing national anthems simultaneously, 239–241, 243–244; sequencing in First World War battles, 41–42; shrinking vertical dimensions, 242–243; spacing of punctuation in, 56–57; temporal punctuation in, 53; viewing as musical scores, 244–245; World Trade Organization trade negotiations, 144–145
Pollock, Jackson, 116
Polyphony. See also Influences; Structure; Vertical dimension: amplifying effect of events, 178; applying as lens, 208–209; attention required by, 156; considering alternative tracks, 164–165; creating synchronous events with, 187–188; defined, 18–19, 155; evaluating structure in, 161, 169–176; examining events more deeply with, 216, 222–230; finding multiple interpretations of tracks, 165–166; finding polyphonic influences, 161, 176, 188; including qualitative assessments of events, 167–168; looking vertically at events, 161–163; masking effects of events, 177–178; modifying structures to eliminate synchronous requirements, 185–186; multitasking vs., 160; observed in firefighting score, 221; observing patterns in, 230; opportunities created by, 184–187; overview, 188–189; playing national anthems simultaneously, 239–241, 243–244; risks related to, 181–184; tracking event outcomes with, 157–160; using polyphony lens, 161, 181
Postponing: exit strategies, 67; punctuation marks, 72, 77
Precedence of punctuation, 60, 71–72
Predictions. See also Windows of opportunity: finding when for, 8; timing analysis and, 19
Prescott, William, 231
Prior commitments to projects, 67–68
Problem solving: cat-point thinking, 35, 38, 41, 98, 106; considering bubbles in, 150–151, 154; duration of problem and, 88; effect of magnet rule of interval size on, 91; finding intervals for, 102–103; identifying ED2 + R intervals, 99, 201–202; making decisions from point-and-fan shapes, 207–208; multiple actions involved in decisions, 173–174; obscuring intervals with magnitude thinking, 96, 106; overlooking intervals obscured by language, 95–96, 106; rate-difference solutions in, 125–126, 128; recognizing temporal shapes, 129–131, 153–154; rescaling decisions about sequences, 197–198; risks in time line thinking, 96–98
Processes: benefitting from knowledge of influences, 186–187; considering timing of, 215–216; evaluating changing goals, 167; examining contextual factors in, 161–162; looking for Polyphonic Risks in, 181–182; qualitative assessments for, 167–168; recognizing temporal shape of, 129–131, 153–154; reviewing, 189; speeds of fastest, 115–117; speeds of slowest, 114–115; track speed in, 163–164; unpreparedness for parallel events in, 157; viewing musical scores as, 245
Punctuation. See also Temporal punctuation: alignment of, 58–59, 76; applying to meetings, 198–201; characteristics of, 51–59; creating boundaries with, 200; disregarding, 61; evaluating in conflicting interests, 60, 76, 107; evaluating in sequences, 26, 27, 30–31, 44; explaining why actions not taken, 49–50; including in firefighting score, 221; inserting period too soon, 62, 76; location of, 54–55, 71–72, 74, 75; lockup period as, 50–51; meaning of, 54, 75; misinterpreting, 63, 76; misreading temporal, 60–67; missing, 59–60, 76; number of, 55–56, 73–74, 75; Olympic Game's, 2–3; pattern risks in, 63, 76; postponing, 72, 77; precedence of, 60, 71–72; reasons for choosing, 48–49; repunctuating event flow, 199; rethinking use of, 73–74, 77; simultaneous, 61–62, 76; spacing between, 56–57, 76; spacing risks, 62, 76; strength of, 52–53, 73, 75; subjective or objective, 53, 75; types of, 51–52, 73, 75; using deadline as, 200; for windows of opportunity, 232
Q
Questions: assessing direction of rate, 112; envisioning last steps of sequence steps, 35, 36; finding N-rate, 111, 122; focusing on rates, 112, 124–125, 127; pausing momentum of meetings with, 199
Quinn, R., 70
R
Raffray, André François, 87
Ramachandran, Vilayanus S., 185
Rate: assessing pace of change, 109–111; balancing analysis with speed, 218; characteristics of, 111–121; defined, 18; differing numbers of, 112, 120–121, 124, 127; direction of, 112, 118–119, 122; duration of, 112, 117–118, 123, 126, 127; evaluating objective or subjective, 112, 119, 123, 127; finding the Rate Envelope, 112, 113–117, 122–123, 126; including in firefighting score, 220–221; listing for time analysis, 220; meaning added to, 112, 119–120, 123, 127; normal, 111, 112–113, 122, 126, 127; O- and S-rates, 119, 126; overview of, 126–128; questions focusing on, 124–125, 127; risks related to, 121–124, 127; of tracks, 163–164; viewing meetings with, 205–206
Rate Envelope: applying to meetings, 205–206; assessing, 126; finding extreme rates of change, 113–117; questions related to, 112, 125; risks related to, 122–123, 127
Rate-reducing dilemma (RRD), 119–120
Redescription, 163
Reidel, Claus J., 124–125, 189
Reinverting sequences, 197
Reno, Janet, 56
Repositioning punctuation marks, 74
Repunctuating events, 199
Risks: accurately assessing contents of intervals, 101, 105, 107; affiliated with shapes, 149–150; associated with punctuation marks, 75–77; characterized by size of intervals, 89; created with asynchronous events, 188, 189, 236–237; in disregarding punctuation marks, 61; evaluating conflicting interests, 60, 76, 107; failing to understand interval and duration, 95–102, 106–107; found with sequences, 44; identifying in timing analysis, 216, 234; inserting period too soon, 62, 76; managing timing, 13; misinterpreting intervals, 101–102, 106, 107; missing location of intervals, 101, 106; missing punctuation, 59–60, 76; pattern, 63, 76; polyphony-related, 181–184; related to rates, 121–124, 127; sequence-related, 34–36; simultaneous punctuation marks, 61–62, 76; spacing, 62, 76; synchronous, 3, 169–172, 189; of violating interval norms, 100, 106
Rodin, Auguste, 126
Rogers, Everett, 139
Russell, Bertrand, 66
Ryder, Jonathan, 112
S
Sawtooth curve, 143
Schiff, Arthur, 72
Scores. See Musical scores
Sequences. See also Inverting sequences: about, 2, 18; changing location of, 39, 45; characteristics of, 26–27; creating, 38–39, 45; defining order of, 26, 27–29, 44; envisioning last steps of, 35, 36; extension of, 27, 33–34, 44; finding opportunities in, 36–40, 42, 44; handling inverted, 197–198; illustrated, 27; importance of in punctuation, 54–55; including in firefighting score, 221; interval and duration in, 26, 27, 31, 44, 102–103; listing for time analysis, 220; location in, 27, 32–33; missing, 34–35, 44; optional strategies for dissent, 211; overview of, 44–45; precedence of punctuation in, 60, 71–72; punctuation in, 26, 27, 30–31, 44; recognizing inverted, 196–197; rescaling decisions based on, 197–198; risks related to, 34–36, 44; S4 framework in, 41–42; shape in, 26, 27, 31–32; significance of, 25–26; skipping step in, 39–40, 45; step-by-step or inverted, 41
Shapes. See also Arcs; Bubbles; Curves; Cycles: accelerating/decelerating curves, 131, 136–137, 153; bubbles, 130, 142, 150–151, 154; characteristics of sequence, 26, 27, 31–32, 44; considering amplitude of cycles, 141–142; cost-of-error curves, 233–234; defined, 18; dramatic arcs, 131, 137–138, 153, 208; filling intervals, 92–93; finding for cycles, 139–146; helix, 131, 146–148, 153, 207; including in firefighting score, 221–222; learning to find, 154; lines, 131, 133–136; listing for time analysis, 220; overview of, 153–154; points, 131, 132–133, 153; recognizing temporal, 129–131; risks and opportunities associated with, 149–152; S-curves, 138–139, 153; shape-based rules, 231; tandemizing, 131, 148–149, 153; types of, 131; understanding biases in approach to, 151–152, 153; viewing meeting with lens of, 206–208; with windows of opportunity, 232
Shellenbarger, Sue, 71
Sheth, Jagdish, 134
Silence: effect of, 42; in meetings, 191, 209–211
Simultaneity: advantages of, 41–42; playing national anthems simultaneously, 239–241, 243–244; risks of simultaneous punctuation, 61–62, 76
Singularity in timing, 41
Size: adjusting for musical scores, 223–225; characteristics of interval, 83; determining interval, 89–91, 105; evaluating scope and rate of change, 112, 113–117, 122–123, 126, 127; finding Interval Envelope, 83, 85–86; magnet rule of interval, 91
Sketching musical scores, 216, 218–222
Skewness, 142
Skipping sequence step, 39–40, 45
Sloan-Kettering Cancer Center, 103–104, 107
Smith, Dr. Julia L., 90
Solutions becoming problems, 97
Spacing: between punctuation marks, 56–57, 74, 76; risks, 62, 76
Speed: as advantage of simultaneity, 41–42; balancing for decision making, 218; consequences of being first, 11–13; pace of change, 70–71; rate of event track, 164
State rules, 231
Straight lines: defined, 131; evaluating data as, 133–135; proposing meetings as, 207
Strategic planning. See Planning
Strength of punctuation, 52–53, 73, 75
Strict serial constraints, 28, 40
Structure: evaluating synchronous risk, 169–172; looking for, 161, 169, 188; modifying to eliminate synchronous requirements, 185–186; synchronous requirements for, 159, 173–176, 189; uncovering meeting's temporal, 211–212
Subjective punctuation, 53
Subjective views. See Objective/subjective views
Subtracting period, 76
Sullenberger, Capt., 173
Supply and demand: anticipating, 165; factoring polyphony in, 183–184
Sustaining rate for duration, 117–118
Symmetry of cycles, 142
Synchronous events. See also Copland's Constraint; Synchronous risks: advantages when out of sync, 174; missing patterns in, 6–7; requirements for, 159, 173–176, 189; using polyphony to create, 187–188
Synchronous requirements: events with, 159, 173–176, 189; found in pneumatic tires, 173; modifying structures needing, 185–186; windows of opportunity with, 232–233
Synchronous risks: evaluating, 3, 169–172, 189; factors creating, 3
Systrom, Kevin, 80
T
T. See Temporal architecture
Tandemizing shapes: considering, 148–149; defined, 131, 153
Taylor, Frederick, 188
Teger, Allan I., 66
Temporal architecture (T). See also Temporal punctuation: about, 247–248; applying elements of, 216–217; choosing right design for, 14–15; finding meeting's, 211–213; missing in time-impoverished models, 7; recognizing, 19; sequences associated with, 42–44; using in time rate equations, 4–5, 245
Temporal functions, 52
Temporal punctuation. See also Punctuation: characteristics of, 51–59, 75–77; choosing location for, 54–55, 71–72, 74, 75; creating exit strategies with, 64–69, 76; defined, 18, 47; Delete Design Model for endings, 69–70; disregarding, 61; examples of, 47–48; inserting period too soon, 62, 76; listing for time analysis, 220; misinterpreting, 63, 76; misreading, 60–67; pattern risks, 63, 76; postponing, 72, 77; rethinking use of, 73–74, 77; simultaneous punctuation marks, 61–62, 76; spacing risks, 62, 76; speeding pace of change, 70–71
Tension, 72
Thaler, Richard, 172
Thinking. See also Cat-point thinking: about past or future, 6; magnitude, 96, 106; time line, 96–98
Thompson, Robert, 173
Time-impoverished descriptions: about, 3–4; brain's role in, 5–6; Copland's Constraint and, 6–7; effect of vision on, 5; improving, 4
Timing. See also Temporal architecture; Time-impoverished descriptions; Timing analysis: building skills in, 23–24; choosing right temporal design, 14–15; chronology of Egyptian events, 8–9; creating time-rich descriptions, 7–8; critical issues in, 10; developing time-impoverished descriptions, 3–5; discovering importance of, 13–14; dissent in meetings, 191, 209–211; estimating completion of ideas, 79–80; finding opportunities in sequences, 36–40, 42, 44; importance of, 1; knowing when to act, 10–13; magnitude rule in, 49; managing as risk, 13; sequence in, 2; time in between events, 84–85; time since events, 85; time until events, 85, 203–204; when punctuation spacing effects, 56–57, 76
Timing analysis: benefits of, 235–236; defined, 215; describing situation for, 216, 217–218; evaluating options, 217, 234–235; finding windows of opportunity, 216, 230–234; identifying time-related risks, 216, 234; including different timescales, 228; modifying diagram of musical scores, 229–230; observing patterns with, 16–20, 215–216; probing more deeply, 216, 222–230; purpose and use of, 19–20; sketching score diagram for, 216, 218–222; steps in, 216–217; taking action, 217, 235; updating diagrams for, 225–227
Timing diagrams. See Musical scores
Timing triples, 135
Titanic, 105
T.J. Maxx, 115
Too Much Invested to Quit (Teger), 66
Tracks. See also Polyphony: adjusting height of, 184–185; breaking events into, 157; changing alignment of, 229; considering alternative, 164–165; defined, 157; goal, 167; grouping, 226, 227–228; including sufficient number of, 169; market or network of, 180; masking effects of, 177–178; missing or hidden, 162–163; modifying loudness of, 229–230; multiple interpretations of, 165–166; qualitative, 167–168; rate of speed in, 164; reaction, 166–167; relationships among, 222–223; seeing situations as, 189; substituting, 180; termite, 163–164, 171; viewing with polyphony lens, 161, 181
Tristram Shandy (Sterne), 152
Tuchman, B., 42
Twain, Mark, 42
2010 Winter Olympics, 2
V
Vertical dimension. See also Tracks: about, 161, 188; breaking into tracks, 161–169; chords as image of, 175–176; developing parallel tracks in events, 158–160; listing for events, 219; outcome of shrinking, 242–243; of scores, 18; understanding synchronous requirements with, 176; viewing overlapping events with, 161–163
Vickers, Joan, 38
Views. See Objective/subjective views
Violating interval norms, 100, 106
Von Clausewitz, Carl, 116
Von Moltke, Helmuth, 42
W
Wain-Hobson, Dr. Simon, 110
Walker, Rob, 72
Wall Street Journal, 60–61, 71, 80–81, 169
Wallace, Alfred Russel, 41
Weintraub, Rachel, 33
Wells Fargo, 182
Western Staff Services, 86
Wheeler, John, 25
Why Companies Fail (Ingebretsen), 13
Wilson, Edward O., 86
Windows of opportunity: associated with Olympic Games, 3; cost of errors in, 233–234; finding supply and demand relationships in, 183–184; length and height of windows, 232; open vs. closed, 231; punctuation and shape for, 232; synchronous requirements for, 232–233; timing analysis finding, 216, 230–234
Wolfe, Thomas, 116
World Trade Organization, 144
Wright, Laura, 142
Z
Zelizer, Julian, 89
Zuger, Abigail, 150