the new york times


  • Is Radical Transparency Collaborative?

    I was chatting with Ray Dalio, founder of Bridgewater Associates last Tuesday about the thin line between constructive and destructive confrontation in the workplace. “Confrontation has to be constructive,” the founder of the world’s largest hedge fund told me. "You need to get everything out on the table.” Constructive confrontation is one of the Ten Cultural Elements of Collaboration that I introduced in The Culture of Collaboration book. It’s also an aspect of Bridgewater’s controversial culture.

    Ray had just finished an on-stage interview with Charles Duhigg on Bridgewater’s culture at the New York Times New Work Summit in Half Moon Bay, California. Collaboration was a central theme of the conference that brought together a few hundred chief executives, human resources leaders and others to share experiences, insights and challenges involving organizational culture.

    “I want an idea meritocracy. I want independent thinkers who are going to disagree,” Ray told the audience. One way that Bridgewater accomplishes this objective is by capturing ninety-nine percent of meetings on video and making the archived video available to each of its roughly 1400 people at any time. The one percent of meetings not recorded involves personnel issues and proprietary trades.

    “The most important thing I want is meaningful work and meaningful relationships, and we get there through radical truth.” Ray’s point is that radical truth and transparency build trust and curb hidden agendas and spin. “There’s no talking behind people’s backs,” according to Ray. “Bad things happen in the dark.” Bridgewater’s meritocracy, he explains, produces evidence which decreases bias and increases fact-based decisions.

    Information democracy in which organizations widely share data and information is a key principle of collaborative companies. Trust and constructive confrontation are critical to collaboration. Hidden agendas and spin short circuit collaboration. So it would seem that Bridgewater’s brand of radical transparency would enhance collaboration. Right? Well, that depends.

    There’s conflicting information regarding whether all confrontation is thoughtful and constructive at Bridgewater. That’s why I engaged Ray about the thin line between constructive and destructive confrontation and the need to keep disagreements thoughtful. Bridgewater makes performance reviews public and encourages team members to examine themselves before accepting areas for improvement, according to an April, 2014 article in the Harvard Business Review.

    Performance reviews, whether public or private, can exhaust an organization and compromise value. Meetings, whether captured on video or not, waste time and energy.  A more effective alternative to meetings, which I outline in my book The Bounty Effect: 7 Steps to The Culture of Collaboration, is collaborative group sessions in which people co-create something of value.

    Self-actualization seems to play a role in Bridgewater’s culture. Rather than check one’s emotions at the office door, team members are encouraged to recognize their emotional “triggers” and to “recognize the challenge between the logical and emotional self” in Ray’s words. Then people can more easily set aside emotional triggers and baggage.

    I was curious how Bridgewater's culture resonated with the conference crowd, so I continued the discussion over lunch. Capturing almost all meetings on video for everybody to see is one cultural attribute that fell flat.   “That would never work in our organization,” one participant at my table insisted. She explained that her company values privacy and offers private drop-in spaces for on-the-fly interactions. Other attendees expressed similar views.  

    The down side of capturing almost all meeting video is that people may put on game faces whenever they’re in a “live” meeting room and that formality takes hold.  In contrast, informality enhances collaboration which is why so many businesses have been hatched while doodling on napkins in bars and cafes. Floor proceedings in the U.S. House of Representatives and Senate were once far less formal before these bodies allowed television cameras. Now there’s greater transparency but less collaboration across party lines.

    Sometimes collaborators create greater value for the organization during small, private collaborative sessions either through technology or in the same room. Making video capture of these sessions widely available but optional may create the greatest value for collaborative organizations.

    Clearly, radical transparency works for Bridgewater. Could the firm’s industry play a role? “You have to be an independent thinker in markets because consensus is built into price,” explains Ray.  Then again, challenging the status quo creates value in many industries.

    For organizations adopting collaborative structures and cultures, there’s much to learn from Bridgewater. But what works for one company in a particular industry may fall short for another company in a different business. Trying to implement a carbon copy structure and culture would undoubtedly be a mistake.



  • Collaborative Chaos at the New York Times

    Journalism, at its best, involves constant collaboration.

    In television newsrooms, reporters, producers and assignment editors engage in a continuous conversation about stories and often edit scripts together in real time. While real-time group writing is a relatively new phenomenon in education and business, reporters and producers frequently write story introductions and “teases” together. This traditionally involves no electronic screen-sharing or web conferencing, but rather colleagues shouting to one another across the newsroom or two people hunched over a single terminal. In newspaper newsrooms, a similar continuous dialogue occurs among reporters and editors. Some colleagues get to know one another so well that they even finish each other’s sentences.

    All of this newsroom interaction requires informality. Corporations and government agencies are increasingly embracing informality, because of a growing realization that formality compromises value creation. But informality is nothing new in newsrooms. The informality of journalism dates back at least to the early 20th Century when few reporters got “formal” higher education and the socialization that accompanies it. Newsrooms then felt more like police stations in which colleagues sat in an open room exchanging sarcastic, irreverent banter. And though most journalists (and many police) now graduate from college and the journalistic culture has evolved, newsrooms have nevertheless retained much of their informality.

    Films about journalism have captured this informality. Examples include the 1931 and 1974 versions of The Front Page, written by Ben Hecht and Charles MacArthur, about newspaper reporting in Chicago. Also, the 1976 film, All the President’s Men, directed by Alan Pakula, about Washington Post reporters Bob Woodward and Carl Bernstein’s investigative reporting on the Watergate scandal, reveals the constant conversation among all the players in the Post newsroom. The conversation continues down corridors and into the elevator where executive editor Ben Bradlee (played by Jason Robards), in a dramatic moment, instructs Woodward (played by Robert Redford) and Bernstein (played by Dustin Hoffman) to “print it” meaning to run a story about Watergate.

    Fast forward to 2011. Traditional journalism is under siege, in part because of the Great Recession’s 
    Page One ravages but mostly because of systemic shifts in the media industry. These include shrinking audiences and advertising dollars flowing to Web-based alternatives including social media. Against this backdrop comes Page One: Inside the New York Times, a documentary directed by Andrew Rossi, which attempts to capture a leading newspaper and its people at a pivotal point. (Photo of Times newsroom above courtesy of Magnolia Pictures)

    The reviews have been mixed, a charitable adjective for Michael Kinsley’s take on the film that ran in—of all outlets—the New York Times itself. Kinsley takes the documentary to task for flitting “from topic to topic, character to character, explaining almost nothing.” Kinsley suggests that the movie is disjointed and confusing. The film does take up a series of topics: WikiLeaks, the Pentagon Papers, the Times survival, Comcast’s purchase of NBC Universal, Twitter’s impact, the Times’ plagiarism scandal involving former reporter Jayson Blair, Iraq, the Apple iPad, and the ups and downs of the Tribune Company, among others.

    And all of this comes in the form of a continuous conversation upon which we as the audience eavesdrop. “Like a shopper at the supermarket without a shopping list, “Page One” careens around the aisles picking up this item and that one, ultimately coming home with three jars of peanut butter and no 2-percent milk,” Kinsley writes. Yes, but the collaborative process is rarely pretty.

    In The Culture of Collaboration book, I identify the Ten Cultural Elements of Collaboration that are typically present when collaboration works. One of these elements is collaborative chaos, which is exactly what Page One reveals. Collaborative chaos, the unstructured exchange of ideas to create value, lets the unexpected happen and generate rich returns. In the film, we see former cocaine addict and current Times media columnist David Carr sharing ideas with his sources, his colleagues and his editor, Bruce Headlam. These exchanges culminate in value creation, Carr’s columns. And the film invites us into the Times daily story conferences during which editors jostle over which articles should appear on the front page.

    Kinsley, no stranger to journalism as the former editor of the New Republic and Slate, would undoubtedly argue that while confusion may prevail in newsrooms, it’s the job of the filmmaker to present a more organized picture. But attempting to sanitize or beat the collaborative chaos out of the Times or any news operation would present a distorted view. It would be like eating street food in an upscale setting, a current trend in the restaurant business incidentally.

    Journalism, and collaboration itself, involves a continuous conversation during which collaborative chaos prevails, recedes, only to prevail again all the while creating value.