Enter Magazine, Spring 2015: What’s Worth Doing?

NASA’S NOSTALGIA FOR THE FUTURE: ARTISTS’ VISIONS OF FAR-OFF WORLDS INSPIRE US TO “MAKE IT SO.”
OPEN INQUIRY &
APPLIED INNOVATION
Spring 2015
US $8.95
What’s Worth
Doing?
The Changing Equation
of Risk & Reward
1 | ENTER magazine

Editorial & Design
Christine Marie Mason // Editor-in-Chief
Jeff Greenwald // Managing Editor
Will Rogers // Creative Director
Joanna Harrison // Assistant Editor
Contact
Enter is published by Now Labs, Inc.
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2 | ENTER magazine
Illustration courtesy NASA/JPL-Caltech.
See page 17 for more details.

TABLE OF CONTENTS
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06
09
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Neurodesign & the Roots of
Creativity
In conversation with artist/designer/
neuroscientist Beau Lotto.
by Jeff Greenwald
Art meets innovation
How John Maeda is transforming
the way we think about design.
by Jeff Greenwald
The Selfie Suit
The ego couture of artist and
fashion designer, Tuan Tran.
The Wild West of innovation
TechShop’s Mark Hatch on the
Makerspace Revolution.
Galaxy Quest
Imaging Andromeda, Up Close
& Personal.
by Julianne Dalcanton
NASA’s Nostalgia for the Future
Artists visions of far-off worlds
inspire us to “make it so.”
by Michael Shapiro
The Accidental Innovator:
Connecting with Healthcare
Insight is accidental; productization
is intentional.
by Mason Uyeda
Improvising at Work
by Lisa Kay Solomon
What’s Worth Doing Next?
Science author Mary Roach on
choosing her next subject.
Snowglobes 2.0
A new twist on classic kitsch.
Letter from the editor-in-chief
To “enter” is different than to “begin.” Beginning implies a linear progression
to an end, while entering has a three-dimensional, spatial sense
about it. We come into a new space, a new conversation, a new mindset—
and we might stay a while. We cross a threshold, center ourselves and
enter into conversation, inquiry and dialogue.
With Enter, we’re inviting each person to enter a new space where a
mindset of discovery, possibility and wonder exist; a space where it’s the
questions themselves that matter. In Now Labs’ line of work (i.e., bringing
new concepts to market), questions rule the day. Ideation (the stereotypical
white board of idea generation, aka the “fuzzy front end” of innovation)
starts with asking fresh questions of oneself and others. What do you experience?
What do you assume? What if this constraint didn’t exist? What does
this technology enable? What do people need? Why is the current solution the
way it is?
That asking process continues through the whole filtering cycle of applied
innovation—especially when we arrive at the point of discerning the
very best options.
One question we’re all confronted with daily is, “What’s worth doing?”
Of the hundreds of choices in front of us, how do we decide where to
invest our resources? Whether we’re deciding between new market initiatives
or product lines, where to give our charitable dollars or how to spend
our free time, we answer that question every day—with our actions. And
if we’re not conscious with those choices, we can squander our resources
across competing initiatives: the death by a thousand cuts.
In our first issue of Enter, we ask some very smart people how they came
to make certain choices — whether at America’s space agency, with author
Mary Roach as she decides what to write about next, or in a bootstrap company
making cinema snowglobes. How and why did they decide “What’s
Worth Doing?” We also explore the systems and infrastructures that are
morphing the risk and reward equation. Guest author Mark Hatch discusses
the impact of makerspaces and the crowd. As experimentation becomes
more friction-free and lower cost, “what’s worth doing” gets a much broader
set of answers.
I would love to know your answers. How do you think about risk & reward?
How do you filter and choose? What’s worth doing now? Get in touch!
To inquiry rich living,
22
Toadstool
by Lori Zimmer
23
New Space, Old Soul
Why the Exploratorium’s relocation
was one of its scariest experiments.
by Andy Murdock
Christine
Christine Mason is
the founder & CEO
of Now Labs, Inc.
and the editor-in-chief
of Enter.
24
Top Ten Emerging Technologies
As published by The World
Economic Forum
3 | ENTER magazine

WHITE SPACE
NEURODESIGN
& THE ROOTS
OF CREATIVITY
In conversation with artist/designer/neuroscientist Beau Lotto
by Jeff Greenwald
Beau Lotto, the founder of UK-based Lottolab, is a
neuroscientist and artist whose work combines visual
perception, science and business. One of his signature
projects is an app called Traces, which allows users to leave
gifts for each other at various locations. The recipient’s smart
phone shows a bubble floating above the landscape; when you
find and burst the bubble, the gift reveals itself. Lotto loves to
challenge perceptions on many levels; his projects have included
“Blackawton Bees,” the world’s first peer-reviewed scientific paper
written by school children. (Full disclosure: Coincidentally, Now
Labs’ Creative Director is an investor in Lottolab’s Traces app)
4 | ENTER magazine

“Anything interesting,
anything new, always
begins with a question.”
ENTER: You said in one of your TED talks that all new perceptions
begin with questions.
ENTER: Why is it so hard for people and organizations to innovate
and to make changes?
BEAU LOTTO: Yes: whatever questions challenge our assumptions.
Anything interesting, anything new, always begins with a
question. But in education, unfortunately, the emphasis is on answers.
We teach children to get the right answer. Our businesses
are also geared that way—because we focus on efficiency.
Efficiency is good, of course. Efficient systems are much more
likely to survive in nature. But efficiency is only half of the equation
of innovation. The other half is creativity. You’re never going
to get anything new through efficiency. You’re only going to get
new stuff through creativity, and the root of creativity is questions.
So we should be teaching children not just how to come up
with the right answers, but how to ask the right questions.
BL: Because we hate uncertainty. Our brains evolved to deal with
the fact that the world in which we are engaged, internally and
externally, is uncertain. And when I’m in a state of uncertainty
I’m scared, because it’s a risky state. And what creates uncertainty?
Saying “I don’t know.” The irony is that the only way we can
do anything creative is to step into uncertainty.
ENTER: So fear of change causes stress, yet change is an essential
part of our evolution.
BL: For sure. Because if we don’t adapt, we die. So our fundamental
nature is adaptation. One of the great things about human
beings is that we’re able to adapt more fully to our environment.
continued on page 4
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ENTER: Tell me a bit about Seeing Differently, the book you’ve been
working on.
BL: Really, what the book is trying to do is answer the question
“Why?” When we ask questions, we tend to ask the wrong
questions. In business, we tend to ask Who, What, Where and
When questions. Those kinds of questions give us information.
But pure information is meaningless to the brain; what the
brain wants is meaning. So the question we should be asking
is, “Why?” A marketer may want to know, “Will people like the
red can or the blue can?” A far more interesting question is, why
would they prefer one color or another? Because if you can answer
that question, you’d be able to understand and predict when
they might prefer, say, a yellow can.
ENTER: Can you tell us the background of Traces?
BL: Traces is a manifestation of what we call neurodesign, in
which we try to create experiences for people that are grounded
“The irony is that the only way we
can do anything creative is to
step into uncertainty.”
in how we understand what humans are, and what humans need.
Traces uses the digital to re-engage with the physical world. The
content provided doesn’t exist on your phone; it exists in the
world, and your phone is a window into that world. It enables
you to harvest and leave traces in the world. And it emphasizes
a physical engagement with the world, which is how your brain
makes meaning.
ENTER: Can you give me an example of how it’s being used?
BL: At the moment, it’s really about people who are quite close
leaving stuff for each other. Because Traces creates an opportunity
for you to make an effort for someone else. You have to think
about what they might want. You don’t just send something to
them, you send it to a location. It could be at their house or in a
coffee shop, but they have to go and get it.
The Trace experiences can be a gift of wisdom—say, leaving a
TED talk in a location that tells you about the architecture of that
space—or a piece of music. But it can also be used very practically,
like a Trace note for the UPS guy. So it augments our natural
world, but it can also make reference to that world. Because when
you’re looking through your phone into the world, at something
floating there, your brain is actually in the world around you. It
enables you to be more observant of that world.
ENTER: How do you think Traces is going to carry itself forward in
the business world?
BL: What we’re going to do, looking ahead, is layer and brand.
A brand can leave gifts and experiences for people. Advertising
tends to be passive and omnipresent. With Traces, I can be in
Union Square, hold up my phone and see the different things the
brands might be leaving for me. The important thing is, I have
a choice. Do I want to engage with a brand or not? The agency is
with the user, not the brand.
ENTER: How is this good for businesses?
BL: For brands to create relationships with people, they have to
change the way they engage with their audience. We know how
the brain takes information and makes it meaningful—and that’s
through experience in physical space. It’s through trust and relationships.
Brands, ironically, have to become the source of giving
as opposed to receiving. And in doing so, people will associate
that brand with more meaning and value.
ENTER: What is the difference, then, between neurodesign and
neuromarketing?
BL: Lottolab coined the phrase neurodesign. Our intention
is to bring in neuroscientists—and we use the word very
6 | ENTER magazine

generally, to include people who study behavior, anthropology,
or human nature—as partners and collaborators with designers.
Designers are brilliant at taking an idea and making it engaging
and emotive, and translating ideas into something that people
can access. Scientists are usually pretty crap at that. When you
combine those two, you can take understanding and make it
transformative.
ENTER: I like the idea of Traces, but I have misgivings about it. I can
see a potential for companies like Nike or other advertisers to plant
gifts everywhere in the natural world. So going outside becomes
more of a scavenger hunt than an engagement with the world. Do
you see a potential danger here?
BL: We’re going to try to mitigate against that. Brands will have to
work directly with us. People will apply: Can we leave Traces? As
a brand? Eventually we’ll have a system where anyone can leave
a public trace, but they have to say how or why they’re going
to do it.
ENTER: You’ve said that “Play is one of the only human endeavors in
which uncertainty is celebrated.” You’ve also favorably compared
play to good science, and to business.
BL: Yes—and business can become more like science. Businesses
are starting to do that— to be open to possibility and to uncertainty,
to be adaptable, cooperative and intrinsically motivated.
Basically, what companies need to do is embody the principles of
what makes good science. And to that equation I’d also add intention.
Why. Why you’re doing it.
ENTER: Do you feel hopeful about the way business and innovation
are going right now? Or we moving toward more humanism or
greater roboticism in the business world?
BL: Really good question. I don’t know the answer to that.
Technology by itself doesn’t do anything; it’s the reasons behind
it. I suggest that the next phase isn’t going to be about technology,
it’ll be about a way of being: The positive effect you have on
things around you, and how you add value to life.
I’d argue that a company that does this is more investable.
Why? Because if you engage with people as human relationships
do— with intention— you’ll have a more loyal audience. And
that’s what companies ultimately want. So what I’m advocating is
a better, business oriented, long-term strategy that also has better
consequences for the world at large. n
Jeff Greenwald is the managing editor of Enter Magazine
7 | ENTER magazine

WHITE SPACE
Meets
INNOVATION
How John Maeda is transforming
the way we think about design
by Jeff Greenwald
A
true polymath, John Maeda is currently a design Partner
at Kleiner Perkins Caufield & Byers. He has created
an extraordinarily diverse career blending science,
technology, commerce and the visual arts. A former professor and
head of research at the MIT Media Lab, Maeda served from 2008
through 2013 as president of the Rhode Island School of Design.
8 | ENTER magazine

ENTER: What’s the biggest risk you’ve taken as a designer?
ENTER: What is the biggest lesson you took away from RISD?
JM: Leaving the comfort of a tenured professorship at MIT and
becoming the president of a college, RISD, during its most challenging
times was a big risk. I was inaugurated just before the
global financial crisis of 2009, but I didn’t know that until it was
too late. I had to learn how to run a major not for profit with a
freshly minted MBA and no operating experience at scale, for
sure. Another risk was to leave the comfort of what I had built at
RISD, and enter the venture capital industry. That was a big risk.
I’ve survived this year so far — knock on whatever surface
you’d like!
JM: The biggest lesson I took away is how important it is, in one’s
lifetime, to have the opportunity to fight for people who are
worth fighting for.
I remember meeting a sophomore in a high school once. She
said something to the effect of, “I’m the creative one in high
school. I’m the weird one. No one takes me seriously. But you
— you’re going to fight for us.” That’s when it got real. It was an
honor to get to fight for those who believe in creativity, in spite of
a whole system that believes in innovation but is quick to question
the value of the art.
ENTER: What fields could use the most innovation right now?
JM: Definitely human resources. Being president of RISD, I
learned how important culture is. You know how college costs
so much? What you’re buying is access to a gigantic “family,” a
community that’s lasted for sometimes for hundreds of years. It’s
intangible. So culture is extremely valuable. And to me, culture is
not owned by any part of an organization usually. Maybe HR. So
at RISD I moved HR to report to me and worked at building community,
building better communication, creating more inclusion
and more training, and it made a difference. Companies are only
as good as their people. That’s a cliché – but who’s taking care of
those systems, those invaluable people? Human Resources. And
what kind of tools do we give them to do that right now?
ENTER: I always think of innovation and art going hand
in hand.
JM: People who are close to the arts understand that. But if you’re
a policy wonk, you make the point that innovation helps America
grow and improve. Art? Well, that’s something separate.
“I was right at the wrong time;
artists tend to do that.
ENTER: One of your solutions at RISD was to make yourself
very accessible.
JM: Yes. It was a great flaw, and it was a great experiment. I remember
I was at some kind of brunch for college presidents early
in my presidency. I was talking to the president of an Ivy League
school. This was in 2009 or something. I was the lone college
president blogging and tweeting. So this Ivy League president
came up to me and said “Hey, you’re John Maeda! We’re
watching you.”
“What do you mean?”
“We’re watching to see if you’ll succeed or fail at being
so accessible.”
ENTER: And now it’s part of the culture.
JM: They’re all in it now. At the time, I was like Rudolph the Red
Nose Reindeer and no Santa Claus was in sight. Now college leaders
have got to be on social media. So there you go! I was right at
the wrong time. Artists tend to do that.
ENTER: I’m wondering if you think that design is being driven
by true innovation, or by preconceptions of what we expect to see
in the future?
JM: I would say design does three things: It follows the trend,
it makes the trend, and it brings back old trends. So it depends
on which kind of design you’re engaged with. There are people
designing things that look like they were made in the 1800s,
because that’s considered what’s interesting or valuable to someone.
There are those who are designing futuristic things, because
they’re pushed to design what has not been made yet. But there
are people doing everyday design, all the time. like flyers for their
rock bands. They’re not designing something futuristic.
ENTER: Whose design are you watching with the most excitement?
JM: Well, definitely the technology industry. I have a front row
seat for that. Since my time at MIT in the ‘90s, I’ve watched it
evolve and grow. I had an R1 University research seat. Now I have
continued on page 8
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a VC-world industrial seat. And what I saw in research twenty
years ago is now happening.
I think of the guys at Paper 53, who make the drawing app for
the iPad. Hugely inventive. If Venetian craftsmen had worked
with pixels instead of glass, it would be like those guys. And
Google’s doing a great job. I think they’ve moved away from just a
Vulcan (Star Trek reference) style design firm— speed and practicality,
and are adding more emotion to what they do.
ENTER: You’ve often spoken about the importance of trust. In this
era, when we’ve been inundated with immersive marketing, how can
we create trust without being invasive?
JM: It would have to start with people to people: a stare across the
table at someone you can see. I’m very old fashioned that way.
And when you can’t meet someone directly, I think voice is a
great surrogate for the body. But face-to-face is great.
ENTER: What if that’s not possible, what if you’re trying to build
trust in a brand?
“I think of the guys at Paper 53,
who make the drawing app for
the iPad. Hugely inventive. If
Venetian craftsmen had worked
with pixels instead of glass, it
would be like those guys.”
the younger companies know that design is important, because
they grew up in this whole frothy design era—whereas the ones
that are more engineering-centric are coming late towards this
notion of design.
But just communicating design is not enough...it’s not just
about Apple, it’s about culture. The reason why Apple is expert at
design is because they’ve been designing for 30 years. It’s in their
DNA. The earlier startups bring design in-house and into their
culture the better — it’s an investment. It isn’t like something
that you’re buying for right now; it’s something you’re investing
in, and building over time.
JM: I think that brands today need to have some kind of personal
connection to be effective. Many companies use surrogates for
that connection — like Flo with Progressive Insurance, or the
GEICO gecko, or the “Where’s the beef?” woman from eons ago.
And knowing more about a company—its mission and values,
and people who work for it—also helps, and creates that personal
connection. How the message is mediated does matter. Because
although we are cynical to advertising that we can detect, we
will let ourselves go home with those that we feel are perhaps
authentic.
ENTER: You said you’ll put up any art on your wall for at least a day.
What’s on your wall now?
JM: I have an old piece by Bruno Munari. He was one of the Italian
futurists. I always loved that era of activity, because there
were no computers. They were reacting to the advent of the automobile,
and its speed. That was the technology of the day. And
I have a lot of fortune cookie fortunes I tape on my wall. I think
designers are kind of like kleptomaniacs.
ENTER: What’s your favorite fortune cookie fortune up there?
ENTER: What kind of work are you doing right now with KPCB?
JM: I’m working with the various companies to support their
founding teams leveraging of design in technology. I noticed that
JM: “You will become a good lawyer someday.” I like that one. I
wanted to go to law school, but at the time I chose to become a
college president instead.
10 | ENTER magazine

ART
ENTER: Either way, you got to see how sausages are made.
JM: I got to see how a lot of sausages were made. It made me think
about life and education in general. I think it was Rob Kalin — he
founded Etsy. Rob painted a picture of life for me once. He said
the education system was designed for when we died in our 40s,
so four years of college made sense. You would stock up on an
education and live a life and you would eventually expire. But advances
in science let us live to be 80 or 100, it’s kind of impossible
to believe that you’ll take four years of your life, from 18 to 22, and
Ego Couture:
The Selfie Suit
“The earlier startups bring design
in-house and into their culture the
better— it’s an investment. It isn’t like
something that you’re buying for right
now; it’s something you’re investing in,
and building over time.”
expect the education to last until you’re 80.
That kind of reshaped how I thought. It was like when Jack
Dorsey came out with the Square.
RISD was the first college to give out Square, which is a
mobile payment device, at scale on an American campus. When
they started to be all around campus, I thought about how one of
the best professors at RISD, Michael Fink, could totally change
the game of education. I thought, “Mike can just take a Square,
assemble 20 students in a park just outside my office, and charge
students with credit cards. He wouldn’t need me! Why do you
need a president, or an institution?” Stuff like that kept happening
during my tenure as president, it made me think whether life
is about longevity, or how you access live people.
ENTER: You once said, “if you’re never wrong, you never get
something right.” Tell me something you were wrong about.
JM: It would be in 1990-something, when people started to have
home pages. For this thing called “the Web.” I thought, who
needs a home page, give me a break! I fortunately changed my
mind a few months after it took hold. n
“The ‘selfie’ is a new and pervasive
expression of the self; it is an action that
embraces sharing and openness. I am an
open person, and I am proud to wear a
suit or jacket with my image. I was inspired
to bring the selfie to fashion because it
is the ultimate statement of a person,
wrapped up in one’s self in an exaggerated,
caricatured and fun way.
“As for the risk, I would ask, ‘What is the
risk of being yourself?’ To the extent that
you love yourself, the opinion of the world
matters less. A person cannot be timid, shy
or conservative to wear any of the fashion
I create. I don’t think about risks—I think
about opportunities. If someone doesn’t
like you, a jacket or suit won’t change their
opinion. So why not make it perfectly clear
who you are?”
Tuan Tran is an artist and fashion designer living
in San Francisco
Jeff Greenwald is the managing editor of Enter Magazine
11 | ENTER magazine

FEATURE
THE
Wild West
OF INNOVATION
TechShop’s
Mark Hatch
on the Makerspace Revolution
Mark Hatch is the Co-Founder of TechShop,
author of The Maker Movement Manifesto,
and a former Green Beret.
12 | ENTER magazine

Some very powerful new tools, communication
methods and understandings about the way we
innovate have come into existence during the last
ten years. Collectively, they are radically changing how
innovation is practiced—and who gets to play. Their
presence is fundamentally changing, quite likely forever,
the risk and reward equation of innovation.
In 1992, Steven Wheelwright and Kim Clark released Revolutionizing
Product Development, an influential book and research
study. It concluded that, in many instances, a six-month delay
in a new product launch could cause one-half of the product’s
potential profits to be lost. Today, a delay of that length might put
a firm a full generation behind a competitor, and could possibly
cost the firm its existence.
Until recently, it was a well-known “fact” that it was impossible
to launch a new car company (witness the failure of the
DeLorean Motor Company back in the 1980s). Yet today the entire
industry is playing catch-up to Elon Musk and Tesla. Likewise,
outer space was once the sole purview of nation states—until
Musk and Sir Richard Branson changed that landscape (or,
more aptly, spacescape). Now we have a bunch of billionaires
funding the development of Planetary Resources, a space
mining company.
And it’s not just huge interlopers like Tesla, Virgin and Google
who are upending convention. It’s General Electric, DARPA and
Ford on the large enterprise side, and people like Bre Petis, Jane
Chen, Espen Sivertsen, Richard Hatfield and James McKelvey on
the startup side—individuals I’ll discuss soon, who are soundly
beating entrenched giants at their own game.
As the CEO of TechShop, the world’s first and largest chain of
makerspaces, I’ve been watching as new companies launch for a
fraction of traditional costs.
For those who may not know: A large makerspace is basically
a 15,000- to 25,000-square-foot fabrication arena, with tons of
equipment. You can make just about anything. TechShop spaces
include a metal shop, a wood shop, a textile lab, laser cutters,
3D printers, electronics and plastics areas, powered hand tools,
welding equipment, a full software suite with a couple dozen
computers and the space to work on projects up to the size of a
small lunar lander (yes, one guy has worked on a lunar lander).
Like a club, makerspaces (or “hacker spaces”) attract a vibrant
community of people who share a love for making things. Each
aggregates a community of the most creative and dedicated
“makers” in a city.
But the most amazing thing about these places is how much
they can reduce the cost of starting a hardware company. What
used to cost a small fortune can now be accomplished for a few
thousand dollars and some sweat equity. I have seen people come
in with little knowledge and few skills—and mere months (not
years) later, they launch multi-million-dollar companies that
change the world. I’ve been doing new product development my
entire life, for companies big and small, and have never seen
anything like this occur before. We’ve heard quite a lot about
software startup firms; these places create a platform for lean
hardware startups.
Inspired by Japanese origami folding techniques, the
26-pound Oru Bay kayak was developed in a makerspace
with the help of Kickstarter in 2012.
Duleeesha Kulasooriya, head of strategy for Deloitte’s Center
for the Edge (Deloitte is the world’s largest professional services
and accounting firm), is studying the impact of the Maker Movement,
and makerspaces in particular. According to Duleeesha:
“Makerspaces have fundamentally shifted the
economics of prototyping and small-batch manufacturing.
By providing affordable access to tools
and community, and thereby capital cost requirements,
they have lowered the barriers for entry
for hardware startups. Large firms too can take
advantage of the same economics by providing
access to these makerspaces and allowing for
larger portions of their employees base to
participate in innovation activities.”
The startups I work with on a daily basis have reduced the
cost of launching their products and companies by upwards of
98%. The cost of failure has dropped so low, anyone can innovate.
Chris Anderson (CEO of 3D Robotics, and former Editor-in Chief
of Wired) sums up the excitement about the renewed interest in
and the democratizing effects of makerspaces this way: “If you
like the Web, you’re going to love the Maker Movement. It’s the
same revolutionary innovation model, but now applied to one of
continued on page 12
13 | ENTER magazine

the biggest industries in the world - manufacturing.” He adds, “If
you thought the web was big, I think this is going to be bigger.”
Here are some examples of people who have launched lean,
fast, cheap-to-start, companies out of a makerspaces.
Let’s begin with Bre Petis. He was a founding member of NYC
Resistor, a hacker space in Brooklyn. Formerly a junior high art
instructor, Bre learned about 3D printing and launched Maker-
Bot Industries out of NYC Resistor in 2009. In 2013, he sold it to
Stratasys for $600 million.
Jane Chen is the co-founder of Embrace, a non-profit
organization that has won numerous awards, including The
Economist’s Social and Economic Innovation Award, Forbes
Impact 30, and Fast Company’s Innovation by Design Award.
Embrace makes low-cost, portable, incubation blanket warmers
to regulate the body temperature of vulnerable low-birth-weight
and premature babies. The infant warmers cost less than 1% of
standard incubators, don’t require constant electricity to operate
and are lightweight—making them ideal for use in developing
countries where rural access to hospitals and electricity is limited
or unavailable. Developed in a makerspace and first used in
2010, the Embrace Warmer had reported saved the lives of more
than 87,000 babies by the end of 2014.
Espen Siversten started his 3D printer company, Type A Machines,
in Noisebridge, an anarchistic educational hackerspace
in San Francisco, and actually moved his company into the San
Francisco TechShop. “We brought our product to market in nine
months while bootstrapping,” Siversten remarks, “when experts
said it would cost $5 million and take a year.” A makerspace, he
says, “was the great equalizer: access to equipment we could only
dream of as a startup reduced our risks and doubled our rewards.”
The Lightning LS-218 is the world’s
fastest production motorcycle
The world’s fastest production motorcycle is now all-electric,
built by makerspace veteran Richard Hatfield’s Lightning
Motorcycles. The Lightning SuperBike has already won the acclaimed
Pikes Peak International Hill Climb (the second oldest
motorsport race in the US), besting the entire field, including gas
powered superbikes, by a stunning 21 seconds. Powered by solar
energy, it now holds the Guinness World Record for the world’s
The Lumio lamp, developed in a makerspace, is a multi-functional lamp
concealed in the form of a small, hard-cover book.
fastest electric motorcycle, having reached 218 miles per hour in
2011 on the Bonneville Salt Flats.
But the largest single company to launch from a makerspace
so far is Square, the merchant banking solution that James McKelvey
and Jack Dorsey founded in 2009. Now worth more than $6
billion in shareholder value, it is believed the company did in
excess of $1 billion in sales and over $30 billion in transactions
in 2014. One of the most revealing things about Square’s success
was that they could not get funding until they had developed a
prototype device. But once the prototype was made (in our very
own makerspace) they were funded quickly. This speaks to the
critical importance of engineering that first prototype. As James
recently told CNN, “TechShop was this miraculous find. [They]
had all the equipment and they have all these amazing people. I
saw a guy making his own Segway, [and] a guy making a
lunar lander.”
There are more. Oru Kayak, Lumio, Boosted Boards, DODO-
Case, Open ROV and Theradome Laser are all examples of businesses
launched through makerspaces and hacker spaces around
the world.
Today, it’s possible to learn the skills needed to launch a
company in very short periods of time. You can even fund your
company through crowdsourcing. And you can use the crowd to
14 | ENTER magazine

help solve problems, set your specifications and flesh out the features
and benefits you need. New members routinely come in to a
makerspace, take a few classes, build a prototype and then raise
tens of thousands of dollars on Kickstarter or Indiegogo to launch
a company—sometimes in just a few months.
One of the things that I find interesting is how disruptive
some of these startups actually are. Square changed the merchant
payments landscape. Lightning Motorcycles is changing the definition
of a superbike. Clustered Systems, a computer server cooling
company, took on major entrenched Fortune 100 companies.
But this radical new way of launching is not just for the small,
agile startup. The big guns are getting in on the action as well.
Incubation blanket warmers by Jane Chen’s Embrace have saved more than 87,000 babies in the developing world.
Ford Motor Company, for example, wanted to engage their
employees in a way that would energize them to generate more
innovative ideas. To do this, they funded a makerspace near their
corporate HQ in 2012, wrapping it within a successful program to
engage Ford employees. Their key objective was to increase the
number of high quality patentable ideas coming into the Ford licensing
office. The target was modest, but the actual results were
stellar: a 100% increase in high-quality suggestions from their
existing employee base. One resulting device (which, because of
an NDA, cannot yet be disclosed) is making its way to become an
option on Ford vehicles.
Another surprising case has been the experiment run by the
research arm of the Department of Defense. A few years ago,
DARPA used open innovation strategies and the crowd to help
develop their Fast Adaptable Next-Generation Ground Combat
Vehicle (FANG GVC) project. Working with Local Motors, a buildit-yourself,
street-legal rally car company in Arizona, DARPA
was able to produce the first fully functional prototype, using a
specifications process that leveraged the crowd. Time and cost?
An astonishing four months and one million dollars.
A final dramatic example: Late in 2013, GE asked their new
partner, Quirky (a company that specializes in crowd-based innovations),
to see if they had any ideas for new air conditioners.
In December of that year, GE/Quirky used the Quirky platform to
help develop and lock in the specifications of the Aros in-window
air conditioner. By March of 2014, they began taking orders (on
Amazon) for shipments beginning in May. Total elapsed time
from inception to release: about six months. This is the same
amount of time that, in the 1980s, a delay in the development of
a product might cost a company half that product’s profits. And
that was a relatively gentle penalty. If a delay of that length occurs
today, a company might fail entirely.
What’s going on here?
The contemporary truth is that crowds have more and better
information than many R&D departments. Markets can be assessed
and tapped virtually. Prototypes can be created rapidly—
thanks to CNC tools, digital design, 3D printers and other rapid
prototyping capabilities—for a tiny fraction of what they used to
cost. The rate at which innovations are being developed and adopted
is accelerating, while the cost of taking risks is dropping.
In short—during the last decade—everything about new
product development has changed. I’d like to offer a challenge,
directed at any imaginative player within a big company: Leverage
these new capabilities and skip the traditional innovation
processes entirely. Why bother getting permission from a
bunch of corporate naysayers when you can test your idea via
private prototyping (at a makerspace) and Indiegogo? Launch
the product, make some money, and—rather than asking for
permission to test market something—ask for permission to
return the profits from your experiment. Imagine going to
your CEO and saying, “Hey, I just did a market test on an idea
my team has been kicking around. The market test generated
$200,000 and we need a way to book this revenue.” These days,
it’s not at all far-fetched: market tests as a profit center.
When that starts happening—with frequency—the radical
changes we’re seeing in the speed, ease and cost of launching
new products will have completely transformed the art
of innovation. n
15 | ENTER magazine

MICRO
MICROBE MUSEUM
16 | ENTER magazine

“Meeting your microbes” may not sound like a
great date, but you’ll leave Micropia—
Amsterdam’s new museum of the microbe,
which opened in 10/14 —feeling a little less
lonely. Did you know, for example, that there
are about three pounds of microbes in and on
your body? Or that the ones between your toes
look like Christmas bulbs? The visit will leave you
amazed … and maybe a little antsy.
http://www.micropia.nl/en/
17 | ENTER magazine

MACRO
GALAXY QUEST
Imagining Andromeda,
up close & personal
by Julianne Dalcanton
Several years ago, the
organization that allots time on
the Hubble Space Telescope
asked astronomers to propose some
long-term, mind-expanding projects
that the HST might complete
during its lifetime. Astronomer
Julianne Dalcanton talks about how
her team’s winning proposal—a
staggeringly detailed portrait of the
Andromeda Galaxy—came to be.
“I was already used to thinking big
with the Hubble, but this was like asking,
‘what’s the coolest thing you can possibly
think of?’ One of my closest collaborators
and I were talking on the phone about
some of our crazy ideas. Somewhere during
the conversation I said, ‘What if we did
M31 (The Andromeda Galaxy)?’ The more
we thought about it, the more we became
convinced that this would be something
transformative.
“We are used to looking at galaxies
as whole. But each galaxy, as Carl Sagan
told us, holds billions and billions of stars.
And if you look at it closely enough—as we
could with the HST—you should be able
to see the stars within it. Those stars are
a ‘fossil record’ of everything that happened
to the galaxy in the past. Through
that record, we can figure out long-past
events that we couldn’t witness directly.
It’s almost identical to archaeology.
“As for the image itself, well, I think
‘jaw-dropping’ is as close as you can get.
I mean, when you write a proposal, you
do a good job of convincing yourself that
this is something that’s going to work. For
me and my collaborators, there was a gobsmacking
moment of, ‘This is as incredible
as we thought it would be!’—and a
tremendous relief that it actually worked.
“For me, the most compelling reactions
are the people whose first gut reaction
is, ‘There’s no way we’re alone.’ I find
that incredibly profound. I mean, you can
tell people there are billions of stars in
other galaxies. But when people actually
see those billions of stars scrolling by on
their computer screen, the idea that not
one of them ever developed life starts to
seem a little farfetched.” n
Julianne Dalcanton
is a Professor of
Astronomy at
the University of
Washington.
18 | ENTER magazine

NASA’S NOSTALGIA FOR THE FUTURE
Artists visions of far-off worlds inspire us to “make it so.”
by Michael Shapiro
“
Wouldn’t it be cool to go
there?” That’s a question
that has inspired skygazing
sci-fi authors and space
scientists for generations. And that
was the driving question behind
three travel posters created by a trio
of “visual strategists” at NASA’s Jet
Propulsion Laboratory in Pasadena.
David Delgado, Joby Harris and Dan
Goods, artists employed by the JPL at
the California Institute of Technology,
fashioned three posters celebrating the
potential of visiting recently discovered
exoplanets. Harking back to travel
posters from the 1920s through 1950s,
the images visually capture the unique
features of each distant planet.
And they’re fun, with witty slogans.
Kepler-16b, a planet orbiting around two
suns (like Luke Skywalker’s home planet,
Tatooine, in Star Wars) is tagged:
“WHERE YOUR SHADOW ALWAYS
HAS COMPANY.”
The poster for Kepler-186f, whose
dim sun shines in the crimson spectrum,
reads: “WHERE THE GRASS IS ALWAYS
REDDER ON THE OTHER SIDE.”
“We show people in spacesuits
(in the posters) because it would be
amazing to go there. That sparks people’s
imaginations,” Harris said. “It’s like a
carrot hanging far out in front of you.
Maybe it will inspire a young kid to figure
out how to get there.”
The posters evoke “futuristic
nostalgia,” Goods said. “We love nostalgic
things, but combining that with the future
is really powerful.”
The underlying mission of this art,
Delgado said, is that “imagination and
science fiction in some ways lead to
science. I think that’s why it’s struck
such a chord.”
But artists hired by a strapped
space agency – why is this worth doing?
Because they help scientists “think
through their thinking,” Goods said. “We
ask lot of questions that are maybe not
what their colleagues are asking them
about, and sometimes that helps clarify
what they’re doing.”
Though created for space scientists,
the posters have been a big hit with the
public. “We talk about sneaking up on
learning,” Goods said. When people see
art that’s “beautiful and mysterious,”
they ask, “What is this?” and that makes
them want to know more.
“We had no idea that they would get
this popular,” Harris added. “Otherwise
we would’ve spent more time on them.”
Maybe it’s good they didn’t. Some
of the most successful innovations
happen in a flash. n
Michael Shapiro is
author of A Sense of
Place, a collection
of interviews with
top travel writers,
and contributes to
National Geographic
Traveler. The three
posters can be
downloaded for
free at:
http://planetquest.jpl.
nasa.gov/exoplanet_
travel_bureau
19 | ENTER magazine

PROCESS
THE ACCIDENTAL INNOVATOR:
CONNECTING WITH HEALTHCARE
Insight is accidental; productization is intentional
by Mason Uyeda
Ever start out on one path, only
to find yourself in a different,
unexpected place? Such was
the case when VMware sought to
create a better way for end-users to
access their corporate desktops—
but ended up with a breakthrough
for healthcare workers.
Our initial mission was to improve
the desktop experience for both endusers
and IT by applying well-understood
“cloud computing” technologies to
enable access (to a corporate Windows
desktop) from various devices (tablets,
kiosks, your PC at home, a friend’s
laptop) in diverse locations.
A team member made a simple
suggestion: Wouldn’t it be cool if people
could use their ID badges to log into
their desktops? They simply tap their
badge on a reader (plugged into a
PC), and their own Windows desktop
appears. We came to call that use
the “Follow-me Desktop” (aka “Tap
and Go”).
Customers, especially in healthcare,
loved it. Nurses and clinicians log in and
out many, many times a day. The ability
to “tap” their badge to connect quickly
(within six seconds) to their desktop was
hugely appealing.
As we listened to healthcare
workers, we heard many more needs
and concerns. We learned that it was
important that their desktops always be
available—even when natural disasters
strike. We found that doctors and
radiologists want to be able to look at
images from wherever they are—on
tablets and smart phones, if necessary.
And we discovered that the more we
streamlined the log-in process, the
more we increased doctor-patient
interaction time.
The initial observations and insights
were serendipitous, but from there we
put them into VMWare’s innovation
framework: standard things like
customer councils, cross functional
teams and technical accelerators.
What started as a simple feature
for “tapping in” quickly became a
recognized solution in the healthcare
industry. This was confirmed last fall,
when I took a family member in for an
exam. And, you guessed it: The doctor
walked in, tapped her badge at the PC,
and sat down to talk with us. n
Mason is responsible
for industry and
technical marketing in
end-user computing at
VMware, specializing
in solution marketing
and engineering.
20 | ENTER magazine

BOOK REVIEW
IMPROVISING AT WORK
by Lisa Kay Solomon
“There are people who prefer to say ‘Yes’ and there are people who prefer
to say ‘No’. Those who say ‘Yes’ are rewarded by the adventures they have.
Those who say ‘No’ are rewarded by the safety they attain. There are far
more ‘No’ sayers around than ‘Yes’ sayers, but you can train one type to
behave like the other.”
— Keith Johnstone, Improv: Improvisation and the Theatre
Lisa Kay Solomon
teaches innovation at
the California College
of the Art’s MBA in
Design Strategy and
co-authored the bestselling
book Moments
of Impact: How to
Design Strategic
Conversations that
Accelerate Change.
A
s an educator focused on innovation and leadership,
I help students and executives learn how and when
to say “Yes” while the rest of the world is reflexively
saying “No.” Innovation relies on inventive, flexible and
generative thinking. There’s no better guidance for this open
mindset than this centuries-old theater practice.
Although “improv” may seem like theatrical magic in the
moment, three important books reveal its value as a deeply
disciplined, rules-based craft. These three books—one older, two
recent—shed light on the behaviors, attitudes and incentives
that can help fuel a personal openness to risk in exchange for
collaborative reward.
Yes, And, by Kelly Leonard and Tom Yorton
(Harper Business, 2015) —Two Second City
executives tell vivid stories of famous
comedians who passed through the doors
of their Chicago comedy institution:
Tina Fey, Stephen Colbert and Keegan-
Michael Key, among others. Beyond
the practice of improv, the authors also
explain its cultural and organizational
benefits through chapters like “How
to Build an Ensemble” and “Audiences
Want In on the Act.“ The pair suggests
that organizations use improv as a talent
management practice—allowing for
shared risk without individual blame, and
the collective sharing of rewards.
Do: Improvise: Less push. More Pause,
Better Results. A new approach to work
(and life), by Robert Poynton (Do Lectures,
2013)—Philosopher and consultant
Poynton skillfully illustrates how improv
practices can help organizations better
respond to challenges in a world
characterized by extreme variations and
uncertain futures. Consciously practicing
a theater strategy called accepting all
offers, Poynton claims, “enables you
to use the resources you have in a more
satisfying, surprising and enjoyable
way” and recognize opportunities
amidst challenges.
Improv Wisdom: Don’t Prepare, Just Show
Up, by Patricia Ryan Madson (Random
House, 2005) —Madson shares 13
“maxims” of improvisation—including
Showing Up, Making Mistakes, Saying
Yes, etc.—to empower readers to create
meaning in the moment. More like a
personal spiritual guide than playbook,
each chapter opens with inspirational
quotes and provides anecdotes and
exercises from Madson’s decades of
experience teaching improv at
Stanford University.
In a world with no easy answers,
improv’s highest value may be the
freedom it affords us in breaking free
from our traditional training to be
“right,” in favor of potentially better, but
unknown future possibilities.
21 | ENTER magazine

PROCESS
WHAT’S WORTH
DOING NEXT?
Science author Mary Roach on choosing her next subject
S
electing my next book subject begins
with a process of elimination.
There’s just so many things that
are interesting, but won’t work for me.
Anything purely historical? Not going to
do that. I want to be able to report stuff in
the present, because I love the research:
going into different worlds. And it can’t
be completely abstract. I want it to be
able to have sounds and sights to render
for the reader. So much of science today is
microscopic— theoretical physics, protein
receptors and genetics. I’m really a “bodies
on the slab” kind of person.
Packing for Mars was a case where I
had an abiding interest in the space program,
and three things came together.
I was doing a Vogue story for osteoporosis;
I called up an astronaut because bone loss
is an issue in space. He also told me about
the video camera in the toilet that helps
astronauts position themselves for a zero
gravity shit. And I remember thinking,
Somehow I will write about this. Also, I
had run into a guy I knew from Antarctica
who was studying the effects of microgravity.
So it was sort of working ass-backwards.
I had three things I really wanted to write
about, and I looked for an “umbrella” topic
that would cover the specifics.
The same thing happened with Gulp: I
had two or three things I’d come across that
I hadn’t been able to put anywhere. They
all happened to be along the alimentary
canal. I thought, Duh! That’s such a Mary
Roach topic!
The bottom line is, it this going to be
exciting and fun for me to spend two years
doing? Otherwise it’s not worth it. Because
if it’s not fun and satisfying for me, it’s not
fun and satisfying for the reader. n
Mary Roach (weightless,
above) is the New York
Times best-selling author
of six non-fiction science
books including Stiff,
Packing for Mars and
Gulp. Her books have
been translated into
more than 25 languages.
Beloved for her
exhaustive research into
the most obscure corners
of science, her notorious
2009 TED talk discussed
“10 Things You Didn’t
Know About Orgasm.”
22 | ENTER magazine

PLAY
SNOWGLOBES 2.0
A new twist on classic kitsch
When JD Beltran and
Scott Minneman started
collaborating, they quickly
discovered a mutual fascination
with snowglobes.
Though their backgrounds are
very different—Scott holds degrees in
architecture and engineering from MIT
and Stanford, while JD is an artist, writer
and filmmaker—both had been making
snowglobes, for projects and friends, for
some time. Given Scott’s retro-futurist
practice of imbuing traditional objects
with modern technology and JD’s genius
for creating novel, in-situ storytelling
experiences, the Cinema Snowglobe was
an inevitable collaboration.
“The decision to pursue the
inspiration was one of those ‘rightproject,
right-time’ situations,” Beltran
reflects. They presented their idea to
the Workshop Residence, an arts and
craft incubator based in San Francisco’s
Dogpatch neighborhood. The Workshop
seeks to enable artists to be selfsustaining
through studio space and
seed money for creating art multiples
(rather than limited editions). They
were offered a residency, and the
Cinema Snowglobe was born. The
project also received support from
Stochastic Labs in Berkeley, which
enabled further refinements.
Creating the Cinema Snowglobes
posed technical challenges in many
fields—including fluid dynamics,
materials science, electronics,
programming and filmic content.
“Perseverance and perspiration got
us past some of those problems,” says
Minneman. “Now we’re on to the fun
stuff: authoring increasingly compelling
content, and exploring the potential of
this new interactive platform.”
So far, each one has been
hand-assembled. With demand
very high (and a long waiting list),
the production process still needs
streamlining. Nonetheless, the wildly
popular Cinema Snowglobes are
traveling the world— from their initial
debut at San Francisco MoMA to
their recent appearance at the 44th
International Film Festival Rotterdam. n
Videos of fireworks
and the Golden Gate
Bridge animate
some of the early
cinema snowglobes,
which can be held
as shown. Above,
Scott Minneman and
JD Beltran test the
electronics for a
work-in-progress.
23 | ENTER magazine

ORGANIC/BUILT
Lori Zimmer is an art
and design writer
living in New York. A
version of this article
originally appeared on
Inhabit.com
TOADSTOOL
by Lori Zimmer
The average mushroom
is taken to new heights
thanks to Dutch designer
Eric Klarenbeek, whose beautiful
Mycelium Chair was made using
3D printing technology.
Klarenbeek developed a design plan
with the University of Aachen to 3D print
organic materials, swapping out plastic
or metal with living cells. The futuristic
fungal chair blooms over time as
mushroom spores mature, fusing organic
technology with elegant design. Along
with being able to literally grow furniture,
Klarenbeek has made a truly sustainable
chair that gives itself back to the earth
after its use is exhausted.
Klarenbeek’s project explores taking
modern 3D printing technology and
meshing it with the biological building
blocks of fungi. To create a pliable
material, mycelium was extracted from
fungus, mixed with a compound of
organic straw and water, then fed into a
3D printer and printed into a chair design.
The mycelium is still alive, and
continues to grow. For design purposes,
Klarenbeek dried the chair out and
covered it with a layer of bioplastic to
stop the mycelium’s growth and preserve
its delicate shape. Living mushrooms
were added to retain the chair’s living
element—they will reinforce the durability
of the chair as they grow thicker. n
BUILT/ORGANIC
BEEHIVE
Beehives can be both sculptural and
inviting (to bees), as shown by these
honeycomb-inspired structures created
by the Vulkan Bigård project in Oslo,
Norway. Their aim? To bring more bees
into the city, and increase peoples’
understanding about the critical role
these insects play in sustaining the world’s
food supply. n
24 | ENTER magazine

ARCHITECTURE
NEW SPACE, OLD SOUL
Why the Exploratorium’s relocation was one
of its scariest experiments
by Andy Murdock
M
oving a venerable
museum to a new location
is logistically challenging,
to say the least—but how do you
move its soul?
When the opportunity arose to move
San Francisco’s iconic Exploratorium to
a larger and more accessible location
on the Embarcadero waterfront, the
potential rewards were too enticing to
ignore. But the move carried risks, as well.
“Our main worry,” says Marc L’Italien,
Principle Architect on the Exploratorium
project for EHDD, “was that people
would walk in, and it wouldn’t feel like the
Exploratorium that they knew.”
The Exploratorium first opened its
doors in 1969, breaking new ground for
science museums: Visitors could touch
and interact with everything. Exhibits
were crafted in-house, and the public was
invited into the creative process. Could
the relocated museum retain its culture
of irreverent innovation, and—better
still—carry this playful spirit into the
21st century?
L’Italien and his team set out to build
“an environment of inquiry,” where
museum visitors would feel free to
explore in any direction, and the exhibit
development shop would be a central
focal point, open for all to see. “An
important part of our culture,” says
Jennifer Fragomeni, Exploratorium
Director of Facilities and Operations, “is
to demystify how things work—including
our own processes.”
For the architects, the new location
on historic Pier 15 provided unique
opportunities. The Exploratorium uses
Bay water as both a heat sink and a
heat source, a unique alternative to a
traditional HVAC system. A gray water
cistern system, one of the first of its kind
on a public building in San Francisco,
provides water for the toilets. Already
listed as a LEED Platinum building, the
museum set a goal of creating a net-zero
energy building, a feat they are close
to achieving.
Not everything has worked perfectly.
When seagulls were drawn to the warmth
of the photovoltaic panels on the
museum’s roof, the in-house team took
this as a design challenge. They’re testing
solutions for the museum and other
waterfront buildings that will face
similar issues.
The move was a big risk, but
attendance more than doubled in the first
year. And the museum’s soul? Witness
the crowds of visitors gleefully tinkering
with exhibits old and new, and you’ll see it
arrived in perfect condition. n
Andy Murdock is
a Bay Area-based
writer and editor
whose work focuses
on trends in science
and travel.
25 | ENTER magazine

TOP TEN EMERGING TECHNOLOGIES 2015
The World Economic Forum has published this list of the most important
emerging technologies for 2015. Tell us how one or more of these might
impact your industry, in 300 words or less
Send your answer by June 30th 2015 to:
ENTER@Nowlabsinc.com
Neuromorphic technology
Computer chips that mimic the
connections in the human brain.
Next generation robotics
When robots roll away from the
production line…
Recyclable thermoset
polymers
A new kind of plastic radically cutting
landfill waste.
Emergent artificial
intelligence
What happens when a computer
can learn on the job?
Additive manufacturing
methods
The future of making things, from
printable organs to intelligent clothes.
Digital genome
Healthcare in an age when your
genetic code is on a USB stick.
Fuel cell vehicle
Zero-emission cars that run on
hydrogen.
Sense and avoid drones
Flying robots to check power lines
or deliver emergency aid.
Precise genetic
engineering techniques
A breakthrough offering better crops
with less controversy.
Distributed
manufacturing
The factory of the future is
online—and on your doorstep.
Want to know more? Visit NowLabsInc.com
26 | ENTER magazine

INNOVATION BY DESIGN
IxD, or Innovation by Design, investigates the process and thinking behind breakthrough advances
in science, technology and society. IxD brings great minds from multiple disciplines together—for
experience and connection, and to accelerate the positive steps we can take together.
Please join us this in
San Francisco this
June for IxD2.
The event is by invitation only.
Request your invitation at:
is.gd/IxDInvitation
Now Labs co-hosted the IxD/1 summit in San Francisco,
along with Ixonos, at the Autodesk Gallery.
27 | ENTER magazine

“One of the most powerful words we have is choice.
We are always in choice. Our whole lives are
constructed by our moment-by-moment choosing.
Yet, we can only choose that which we can imagine
or envision. If our sights are constrained, by our
experiences or values or habitual thinking, then our
available choices are equally constrained, and we
stay stuck, or at the least, sub-optimizing.
When we broaden our vision, we see that anything,
any outcome, is possible. And that in itself is a choice!
Choosing exploration and
inquiry creates a virtuous cycle of
increasingly expansive possibilities.
It becomes a way of life.”
— Christine Marie Mason // @xtinem, @nowlabsinc
28 | ENTER magazine