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Neuroscientist Brie Linkenhoker believes that leaders must be better prepared for future strategic challenges by continually broadening their worldviews.
As the director of Worldview Stanford, Brie and her team produce multimedia content and immersive learning experiences to make academic research and insights accessible and useable by curious leaders. These future-focused topics are designed to help curious leaders understand the forces shaping the future.
Worldview Stanford has tackled such interdisciplinary topics as the power of minds, the science of decision-making, environmental risk and resilience, and trust and power in the age of big data.
We spoke with Brie about why understanding our biases is critical to making better decisions, particularly in a time of increasing change and complexity.
Lisa Kay Solomon: What is Worldview Stanford?
Brie Linkenhoker: Leaders and decision makers are trying to navigate this complex hairball of a planet that we live on and that requires keeping up on a lot of diverse topics across multiple fields of study and research. Universities like Stanford are where that new knowledge is being created, but it’s not getting out and used as readily as we would like, so that’s what we’re working on.
Worldview is designed to expand our individual and collective worldviews about important topics impacting our future. Your worldview is not a static thing, it’s constantly changing. We believe it should be informed by lots of different perspectives, different cultures, by knowledge from different domains and disciplines. This is more important now than ever.
At Worldview, we create learning experiences that are an amalgamation of all of those things.
LKS: One of your marquee programs is the Science of Decision Making. Can you tell us about that course and why it’s important?
BL: We tend to think about decision makers as being people in leadership positions, but every person who works in your organization, every member of your family, every member of the community is a decision maker. You have to decide what to buy, who to partner with, what government regulations to anticipate.
You have to think not just about your own decisions, but you have to anticipate how other people make decisions too. So, when we set out to create the Science of Decision Making, we wanted to help people improve their own decisions and be better able to predict, understand, anticipate the decisions of others.
“I think in another 10 or 15 years, we’re probably going to have really rich models of how we actually make decisions and what’s going on in the brain to support them.”
We realized that the only way to do that was to combine a lot of different perspectives, so we recruited experts from economics, psychology, neuroscience, philosophy, biology, and religion. We also brought in cutting-edge research on artificial intelligence and virtual reality and explored conversations about how technology is changing how we make decisions today and how it might support our decision-making in the future.
There’s no single set of answers. There are as many unanswered questions as there are answered questions.
LKS: One of the other things you explore in this course is the role of biases and heuristics. Can you explain the importance of both in decision-making?
BL: When I was a strategy consultant, executives would ask me, “How do I get rid of the biases in my decision-making or my organization’s decision-making?” And my response would be, “Good luck with that. It isn’t going to happen.”
As human beings we make, probably, thousands of decisions every single day. If we had to be actively thinking about each one of those decisions, we wouldn’t get out of our house in the morning, right?
We have to be able to do a lot of our decision-making essentially on autopilot to free up cognitive resources for more difficult decisions. So, we’ve evolved in the human brain a set of what we understand to be heuristics or rules of thumb.
And heuristics are great in, say, 95 percent of situations. It’s that five percent, or maybe even one percent, that they’re really not so great. That’s when we have to become aware of them because in some situations they can become biases.
For example, it doesn’t matter so much that we’re not aware of our rules of thumb when we’re driving to work or deciding what to make for dinner. But they can become absolutely critical in situations where a member of law enforcement is making an arrest or where you’re making a decision about a strategic investment or even when you’re deciding who to hire.
Let’s take hiring for a moment.
How many years is a hire going to impact your organization? You’re potentially looking at 5, 10, 15, 20 years. Having the right person in a role could change the future of your business entirely. That’s one of those areas where you really need to be aware of your own heuristics and biases—and we all have them. There’s no getting rid of them.
LKS: We seem to be at a time when the boundaries between different disciplines are starting to blend together. How has the advancement of neuroscience help us become better leaders? What do you see happening next?
BL: Heuristics and biases are very topical these days, thanks in part to Michael Lewis’s fantastic book, The Undoing Project, which is the story of the groundbreaking work that Nobel Prize winner Danny Kahneman and Amos Tversky did in the psychology and biases of human decision-making. Their work gave rise to the whole new field of behavioral economics.
In the last 10 to 15 years, neuroeconomics has really taken off. Neuroeconomics is the combination of behavioral economics with neuroscience. In behavioral economics, they use economic games and economic choices that have numbers associated with them and have real-world application.
For example, they ask, “How much would you spend to buy A versus B?” Or, “If I offered you X dollars for this thing that you have, would you take it or would you say no?” So, it’s trying to look at human decision-making in a format that’s easy to understand and quantify within a laboratory setting.
Now you bring neuroscience into that. You can have people doing those same kinds of tasks—making those kinds of semi-real-world decisions—in a brain scanner, and we can now start to understand what’s going on in the brain while people are making decisions. You can ask questions like, “Can I look at the signals in someone’s brain and predict what decision they’re going to make?” That can help us build a model of decision-making.
I think in another 10 or 15 years, we’re probably going to have really rich models of how we actually make decisions and what’s going on in the brain to support them. That’s very exciting for a neuroscientist.
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The best storytellers react to their audience. They look for smiles, signs of awe, or boredom; they simultaneously and skillfully read both the story and their sitters. Kevin Brooks, a seasoned storyteller working for Motorola’s Human Interface Labs, explains, “As the storyteller begins, they must tune in to… the audience’s energy. Based on this energy, the storyteller will adjust their timing, their posture, their characterizations, and sometimes even the events of the story. There is a dialog between audience and storyteller.”
Shortly after I read the script to Melita, the latest virtual reality experience from Madrid-based immersive storytelling company Future Lighthouse, CEO Nicolas Alcalá explained to me that the piece is an example of “reactive content,” a concept he’s been working on since his days at Singularity University.
For the first time in history, we have access to technology that can merge the reactive and affective elements of oral storytelling with the affordances of digital media, weaving stunning visuals, rich soundtracks, and complex meta-narratives in a story arena that has the capability to know you more intimately than any conventional storyteller could.
It’s no understatement to say that the storytelling potential here is phenomenal.
In short, we can refer to content as reactive if it reads and reacts to users based on their body rhythms, emotions, preferences, and data points. Artificial intelligence is used to analyze users’ behavior or preferences to sculpt unique storylines and narratives, essentially allowing for a story that changes in real time based on who you are and how you feel.
The development of reactive content will allow those working in the industry to go one step further than simply translating the essence of oral storytelling into VR. Rather than having a narrative experience with a digital storyteller who can read you, reactive content has the potential to create an experience with a storyteller who knows you.
This means being able to subtly insert minor personal details that have a specific meaning to the viewer. When we talk to our friends we often use experiences we’ve shared in the past or knowledge of our audience to give our story as much resonance as possible. Targeting personal memories and aspects of our lives is a highly effective way to elicit emotions and aid in visualizing narratives. When you can do this with the addition of visuals, music, and characters—all lifted from someone’s past—you have the potential for overwhelmingly engaging and emotionally-charged content.
Future Lighthouse inform me that for now, reactive content will rely primarily on biometric feedback technology such as breathing, heartbeat, and eye tracking sensors. A simple example would be a story in which parts of the environment or soundscape change in sync with the user’s heartbeat and breathing, or characters who call you out for not paying attention.
The next step would be characters and situations that react to the user’s emotions, wherein algorithms analyze biometric information to make inferences about states of emotional arousal (“why are you so nervous?” etc.). Another example would be implementing the use of “arousal parameters,” where the audience can choose what level of “fear” they want from a VR horror story before algorithms modulate the experience using information from biometric feedback devices.
The company’s long-term goal is to gather research on storytelling conventions and produce a catalogue of story “wireframes.” This entails distilling the basic formula to different genres so they can then be fleshed out with visuals, character traits, and soundtracks that are tailored for individual users based on their deep data, preferences, and biometric information.
The development of reactive content will go hand in hand with a renewed exploration of diverging, dynamic storylines, and multi-narratives, a concept that hasn’t had much impact in the movie world thus far. In theory, the idea of having a story that changes and mutates is captivating largely because of our love affair with serendipity and unpredictability, a cultural condition theorist Arthur Kroker refers to as the “hypertextual imagination.” This feeling of stepping into the unknown with the possibility of deviation from the habitual translates as a comforting reminder that our own lives can take exciting and unexpected turns at any moment.
The inception of the concept into mainstream culture dates to the classic Choose Your Own Adventure book series that launched in the late 70s, which in its literary form had great success. However, filmic takes on the theme have made somewhat less of an impression. DVDs like I’m Your Man (1998) and Switching (2003) both use scene selection tools to determine the direction of the storyline.
A more recent example comes from Kino Industries, who claim to have developed the technology to allow filmmakers to produce interactive films in which viewers can use smartphones to quickly vote on which direction the narrative takes at numerous decision points throughout the film.
The main problem with diverging narrative films has been the stop-start nature of the interactive element: when I’m immersed in a story I don’t want to have to pick up a controller or remote to select what’s going to happen next. Every time the audience is given the option to take a new path (“press this button”, “vote on X, Y, Z”) the narrative— and immersion within that narrative—is temporarily halted, and it takes the mind a while to get back into this state of immersion.
Reactive content has the potential to resolve these issues by enabling passive interactivity—that is, input and output without having to pause and actively make decisions or engage with the hardware. This will result in diverging, dynamic narratives that will unfold seamlessly while being dependent on and unique to the specific user and their emotions. Passive interactivity will also remove the game feel that can often be a symptom of interactive experiences and put a viewer somewhere in the middle: still firmly ensconced in an interactive dynamic narrative, but in a much subtler way.
While reading the Melita script I was particularly struck by a scene in which the characters start to engage with the user and there’s a synchronicity between the user’s heartbeat and objects in the virtual world. As the narrative unwinds and the words of Melita’s character get more profound, parts of the landscape, which seemed to be flashing and pulsating at random, come together and start to mimic the user’s heartbeat.
In 2013, Jane Aspell of Anglia Ruskin University (UK) and Lukas Heydrich of the Swiss Federal Institute of Technology proved that a user’s sense of presence and identification with a virtual avatar could be dramatically increased by syncing the on-screen character with the heartbeat of the user. The relationship between bio-digital synchronicity, immersion, and emotional engagement is something that will surely have revolutionary narrative and storytelling potential.
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