Thinking about innovation and business models

I’ve always maintained that people who “think opensource” work on useful things, solve problems, create value; they don’t focus on the business model at the outset but instead concentrate on the value they create.

In Peter Drucker’s words, “people make shoes, not money”. Make something that is worth while and people will pay you for it. Figure out what shoes you’re good at making and then make them well. You will make money as a result.

Knowing in advance how you’re going to make money from snake oil may sound like you have a business model; what you have is snake oil. And that’s the problem you need to concentrate on first, the fact that you’re not creating anything of value.

And sometimes the process of calculating and measuring benefits can come in the way. Many years ago, when I worked for Burroughs Corporation, I learnt this the hard way. This was the early 1980s, and software/services was just emerging as a business. Until then, all the margin was in hardware, so we ‘shifted tin”. We gave away the software and the services in order to sell the hardware. Then, as the cost of human capital rose, and investable capital became scarce, this equation began to shift. It became more and more important to understand the true cost of software projects before starting them.

So we instituted something called the Phase Review Process, borrowed from the US Navy if I remember correctly, and implemented it within the firm. Every project had to undergo a phase review at inception and then at each phase.

Which was all fine and dandy. Unless you were just about to start a project that would cost a total of £25,000 inclusive of everything. Which was less than the lowest possible total cost of the phase review process. But I was lucky, my management understood this issue, and it was mandated that projects had to exceed £100,000 in total planned cost before they needed to be put through the Phase Review Process.

Why am I writing all this? Well, some years ago I remember reading about something called the polypill; the newspaper articles referred to this paper which had been published in the BMJ in 2003.

The principle was simple. Six tried and tested medications to be combined into one pill that could cut potentially reduce cardiovascular disease by 80%.

When I first read the articles, I was intrigued. But I didn’t know much about the drugs involved. I knew nothing about statins, other than some vague notion that they were wonder drugs that combated high cholesterol with some wonder side effects. I knew even less about ACE inhibitors and beta-blockers, though I may have come across the beta-blockers as something to do with performance enhancement. Folic acid was something pregnant women took; and diuretics meant you had plumbing problems.

Aspirin I knew about, although I had no idea it could be obtained in cardio doses.

But that was in 2003. Since then, as many of you will know, I have had reason to get to know this particular cocktail of pharmacology quite intimately. Nevertheless, I’d forgotten all about the polypill.

Until a few weeks ago, when I read this on the BBC web site. The polypill could become reality in five years’ time, it said. And then I remembered what i’d read all those years ago, when they said … that the polypill could become reality in five years’ time.

And that made me think. Slowly. Very slowly. And my thoughts went a little like this:

One, cardiovascular disease is the single biggest cause of death facing humans.

Two, people had come up with a cheap and effective way of reducing the risk of cardiovascular disease by 80%.

Three, this had happened six or seven years ago.

Four, with a little bit of luck and a following wind, we may see something happen in five years.

Of course I’m oversimplifying, but I don’t believe I’m exaggerating. A strange world we live in.

I’m not by nature a conspiracy theorist. I believe man landed on the moon nearly forty years ago. I don’t believe in little green men or UFOs. Neither do I believe that Big Oil makes sure that substitutes for gasoline never surface.

But here is what I believe. I believe there is some evidence that the polypill does not exist today because it’s hard to make money from it.

Why? Because the ingredients in the polypill are all out of patent, all “generic”. Because the way drugs are trialled, it’s prohibitively expensive to bring a new drug to market unless you have some monopoly rents to come, patents to exploit and exhaust.

So it is possible that the cost of trialling a cocktail of generic drugs exceeds the potential income from selling the cocktail. And so no polypill.

No mention of the number of lives potentially saved and minor stuff like that.

Now I take statins, beta blockers, ACE inhibitors, diuretics, blood thinners and anti coagulants daily. You could say I have an amateur interest in all this. A passion, even, given that the medication has worked wonders on my heart and on my life expectancy.

This is not meant to be a diatribe against doctors or the medical profession or even the pharmaceutical industry: they have all treated me really well, and I owe them a debt of gratitude.

What I am trying to do is to point out that sometimes we hold up innovation by concentrating on the wrong thing at the start. And sometimes it’s because of the anchors and frames of the way we do things.

So I was thinking. Opensource people solve generic problems. Is there a way to opensource the trials of generic drugs, to change the mechanics and dynamics of drug trials for generics? Is there a way to adopt the opensource principle of “privatising losses and socialising gains”, the exact opposite of what happened during the credit crunch?

I wonder.

Views?

Musing about books and covers and “judging” and reading

I read a lot of books. For decades I used to average ten books a week, but nowadays it’s probably closer to two or three. Nevertheless, I read a lot. And I’ve been reading a lot for over forty years.

When it comes to choosing what I read, I have a variety of techniques:

1. Past-predicts-future: This is by far my most common technique. When I read someone for the first time, and I really like the book, the author goes into my unmemorised unwritten “look-out-for” list. Then, whenever I go to a bookshop and browse around, that author’s name is stuck in my head as I traverse the aisles, and if I see something new by that author, I pick it up. Both aisle-traversal as well as pick-newer are themselves techniques which I describe later. Past-predicts-future is an unordered list of authors I like whom I then look out for when wandering past any collection of books.

2. Aisle-traversal: Whenever I go to a physical bookshop (and here I mean a real bookshop, not a newsagent masquerading as one), I have a simple plan. I go through new releases, shop recommendations, signed books. Then, if time permits, I wander across to mystery/thriller/crime/detection. Once that’s done, if I still have time, I shuffle past the literature section. And then it’s science/nature/mathematics/physics. Which tends to lead me towards computing, and then I settle for a while in business/management. If I still have time on my hands, I get to biographies, then poetry, then art and history, finally humour. Aisle-traversal is an ordered list that defines my journey within a physical bookshop, very sensitive to the time I have available.

3. Pick-newer, pick-older and its variants. Quite often, the first book I read by an author is somewhere in the middle of that person’s oeuvre. If I like that book, then I move into the past-predicts-future technique, but only picking newer books, chronological-forward. If I like the second book as well, then, depending on how much I like the two books, I go into different overdrives. The commonest overdrive is pick-older-from-the-start: I start reading everything that author has written, in chronological order. Sometimes that develops into get-whole-collection-signed-first-edition. Occasionally I don’t wait, I try and acquire the complete works signed straight after book two. This technique is really about extending the reach of an author already on my to-read list.

4. Trusted-friend: The first three techniques are all about authors who are already on my to-read list. So how does someone or something enter the list in the first place? Here I have four subcategories. The first is written reviews: I am a big fan of Kirkus Reviews: a starred Kirkus review is pretty much an order for me to go out and buy the book. I also read both New York Review of Books as well as London Review of Books, and occasionally the Times Literary Supplement as well. The Economist and the Financial Times are probably the only other “reviews” that make this cut. The second subcategory is the human trusted friend, someone I know whose reading taste I respect. I have a small number of such friends; there is a variant to this subcategory, where the friend is an author. In third place is the social web, the chatter from twitter and facebook and the blogosphere. And finally there’s the Amazon recommendation. These are my primary techniques of introducing someone new into the mix.

5. Pre-publication reviews: There are some publishers I trust enough to go looking into what they’ve come out with. I’m always relaxed about buying Dover for maths and physics and logic and number theory; I like the kind of stuff that Nicholas Brealey puts out, so I look out for the imprint; similarly I have time for O’Reilly and Penguin and Pearson for technology and management, for No Exit Press and Mysterious Press and Hard Case Crime. My sister’s a publisher, so sometimes I find out about authors from her. You get my drift. Sometimes I inject fresh blood into my reading stream as a result of the publisher’s reputation. It’s really an upstream review, when you think about it. A commissioning editor is a bit like a reviewer, only pre-publication.

6. Things-that-go-bump-into-me: This is the serendipity technique, the random element. How I discover authors I’ve never heard of, authors who don’t come recommended. Three subtypes. First, because I am known to read, I get given books as presents for all kinds of things and in all sorts of ways. Second, because I am at an airport or similar, in a hurry, with a long trip ahead, and I haven’t had the time to load up with fiction. [I have the Bible and a bunch of business/management articles always to hand]. In such cases I look at the endorsements on the cover and back of the book. Occasionally there’s a third route, a variant of the endorsement. I check out the reviews inside the book, but this is rare for two reasons: they’re not there, or I haven’t the time.

Which brings me to the point of this post. I’ve just finished reading Daniel Suarez’s Daemon. A book I bought really as an airport read, one of those “exclusive airport only editions”, bought because I’d already picked something else up and I was looking for a “2 for £20” companion.

The front cover looked vaguely infotech, so I started browsing. The tagline “Michael Crichton for the Information Age” didn’t do much for me. The back cover did have some endorsements: someone from Google, someone from the White House, someone from Time Magazine. Not quite Yawn. But close.

So I flipped to the back of the book. Two sections of interest there. One, “Further Reading”. A list of books that included Neil Gershenfeld’s Fab, Carl Zimmer’s Parasite Rex, Jared Diamond’s Collapse, Kevin Phillips’ Wealth and Democracy, the McClure/Scambray/Kurtz Hacking Exposed and Confessions of an Economic Hit Man by John Perkins. Oh-kaay. Mr Suarez had my attention now. Anyone who recommends books like that for further reading was someone I was interested in reading.

Then I flipped back a little. Acknowledgments. The people the author wanted to thank. And there I found Stewart Brand, Don Donzal, Craig Newmark, John Robb, along with the authors of the Further Reading list.

I was hooked.

I finished the book last night.

It was excellent. Well written, consistent, different, exciting. [Thank you Daniel Suarez. I shall be looking out for more from you.]

You know something? All this made me think. Maybe it’s time for authors to put the names of their influences and mentors on some easily accessible part of their books. A bit like a blogroll, it’s one way of figuring out what the author’s about. I think this will become more important as things like the Kindle take off worldwide.

Views? Has this been helpful? Should I continue to share stuff like this. Comments welcome.

Outlook: Cloudy: Floating up into the cybersphere

Just finished watching/reading David Gelernter being interviewed by John Markoff and Clay Shirky. Spellbinding.

You can find the entire interview here in Edge. Thank you everyone at Edge.

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Over the years, I’ve been lucky enough to run across a good deal of Gelernter’s works; Mirror Worlds was probably my favourite, though Muse in the Machine sometimes ran it pretty close.

If you want a quick taste of the way he thinks, take a look at the manifesto he wrote nearly a decade ago. How he visualised clouds and lifestreaming, in the same way as he visualised the Web and java a decade earlier.

I’m not going to say any more, I don’t want to spoil things for you. Just read it. While I go off and dig up my battered copy of Mirror Worlds to read again.

Slow down, you move too fast

…you got to make the morning last
just kicking down the cobblestones
looking for fun and feelin’ groovy
Hello lamppost,
What cha knowing?
I’ve come to watch your flowers growing.
Ain’t cha got no rhymes for me?
Doot-in’ doo-doo,
Feelin’ groovy.

Got no deeds to do,
No promises to keep.
I’m dappled and drowsy and ready to sleep.
Let the morning time drop all its petals on me.
Life, I love you,
All is groovy.

Simon and Garfunkel, The 59th Street Bridge Song (Feelin’ Groovy)

Don’t you just love that song? All fresh and bubbly and oh so sixties.

But that’s not what this post is about. Instead, I wanted to use the first line of the song to talk about Capo. What a wonderful idea.

Take a song. Slow it down. Change pitch if you want. I haven’t done much with it as yet, I only have a trial version, but for sure I’m going to get the real thing. Capo is doing with music what Ribbit is doing with voice. All possible because we live in a digital age.

My thanks to Chris Messina for the heads-up.

[Disclosure: While I have nothing whatsoever to do with Capo, I am for sure involved with Ribbit.]

Cutting the mustard

I love food. I love eating it, cooking it, preparing it, buying the ingredients. I love watching people cook. I love researching food culture and habit and folklore and history.

Yes, I love food. I love everything about food.

One of my all-time favourite dishes is made from ilish maach (a particular type of fish popular in Bengal), where the fish is cooked in mustard oil, with liberal use of mustard seed and chillies. When cooked properly, it looks something like this:

[My thanks to Indranil Sen and Jayashree Roy for the photo and for their wonderful recipe, which can be found here in Palki.]

I didn’t just come across this recipe randomly, I spent some time looking around the web for the right one: I was particularly interested in demonstrating a sense of the rich gravy that dominates my memory of the dish. And along the way I came across this article: The Mustard Oil Conspiracy. I’d read a good deal of Vandana Shiva’s work before, in particular those tracts and booklets related to the join between food and patents, but I hadn’t come across this one before. Unbelievable.

And you know something? More and more, I’m realising the truth of what people like Rishab Aiyer Ghosh and John Perry Barlow and Larry Lessig have been saying all along. Today’s battles about IPR aren’t about commerce, they’re about culture. There’s nothing more cultural than food.

Recent events suggest things are going from bad to worse now; the optimist in me thinks it’s “the darkest hour before the dawn”.

What next? I guess we should wait patiently for people to be arrested for selling kitchen equipment. On the basis that the equipment was used to cook food using “illegally” obtained recipes. Or something as ridiculous as that.

Yes, things will get ridiculous if we let them. Or sublime, as in the case of ilish maach. Our choice.