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Strategy through
Personal Values
A behavioural
approach
Malcolm Higgs
Strategy through Personal Values
Scott Lichtenstein · Malcolm Higgs
Strategy through
Personal Values
A behavioural approach
Scott Lichtenstein Malcolm Higgs
Birmingham City Business School Southampton Business School
Birmingham, UK University of Southampton
Southampton, UK
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG 2022
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
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tion in this book are believed to be true and accurate at the date of publication. Neither
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Contents
v
vi CONTENTS
ix
x LIST OF FIGURES
xi
CHAPTER 1
Background
Fig. 1.1 Strategy-oriented cognitive biases (Source Adapted from Lovallo and
Sibony [2010])
Below (see Fig. 1.1), the main strategy-oriented failures of rational and
critical thinking from Lovallo and Sibony (2010) are mapped onto four
main categorisations of cognitive biases: (i) Pattern recognition bias; (ii)
Stability bias; (iii) Action-oriented bias; and (iv) Interest bias:
In Table 1.1, we further categorise the biases and their definitions into
the heuristics that underpin them.
From all these biases, the most important bias from our perspective is
confirmation bias , defined as ‘the seeking or interpreting of evidence in
ways that are partial to existing beliefs’, which accounts for a significant
element of disputes among individuals, groups and nations (Nickerson,
1988, p. 175). Have you had the ‘conviction trap’ experience of your
partner who asks you to go to the cupboard and get a spice, say oregano?
You look and look and then exclaim, ‘I can’t see it’. Convinced it’s there,
s/he asks you to look harder which you do until again you exclaim ‘I
can’t see it, it’s not here’. At this point s/he comes over and grabs it
right from in front of your face! Our convictions can literally blind us.
4 S. LICHTENSTEIN AND M. HIGGS
(continued)
1 WHY SHOULD STRATEGY BE GUIDED … 5
Source Adapted from Lovallo and Sibony (2010) and Heik (2019)
6 S. LICHTENSTEIN AND M. HIGGS
Scores of Canadians being cooked from the inside from a ‘heat dome’
is but one recent example of a planet dying before our eyes as a result
of extractive business models that use far more resources than are being
replenished. Sustainability can’t be achieved in the context of today’s
humanity using the equivalent of 1.6 Earths to provide the resources
we use and absorb our waste (Ecological Footprint, 2021). Rather,
more wholistic personal values-guided regenerative strategies and busi-
ness models are emerging based on the realisation by strategic leaders that
a company can’t be ‘sustainable’ if it degrades the very environment it
depends upon. Raworth’s (2020) Doughnut Report, drawing from Earth
systems science (Steffen et al., 2015) graphically illustrates in Fig. 1.4
on the outer circle how we are overshooting the planetary boundaries
All the seasons display some peculiar beauty that comes from the
tints as well as the forms of vegetation. Even the different months
have their distinguishing shades of light and color. Nature, after the
repose of winter, very slowly unfolds her beauties, and is not lavish
in the early months of any description of ornament. Day by day she
discloses the verdure of the plain, the swelling buds with their lively
and various colors, and the pale hues of the early flowers. She brings
along her offerings one by one, leading from harmony to harmony, as
early twilight ushers in the ruddy tints of morn. We perceive both on
the earth and in the skies the forms and tints that signalize the
revival of Nature, and every rosy-bosomed cloud gives promise of
approaching gladness and beauty.
By the frequent changes that mark the aspect of the year we are
preserved at all times in a condition to receive pleasure from the
outward forms of Nature. Her tints are as various as the forms of her
productions; and though spring and autumn, when the hues of
vegetation are more widely spread and yield more character to the
landscape, are the most remarkable for their general beauty,
individual objects in summer are brighter and more beautiful than
any that can be found at other times. In the early part of the year,
Nature tips her productions with softer hues, that gradually ripen
into darker shades of the same color, or into pure verdure. By
pleasant and slow degrees she mingles with the greenness of the
plain the hues of the early flowers, and spreads a charming variety of
warm and mellow tints upon the surface of the wood.
In treating of vernal tints, I shall refer chiefly to effects produced,
without the agency of flowers, by that general coloring of the leaves
and spray which may be considered the counterpart of the splendor
of autumn. In the opening of the year many inconspicuous plants are
brought suddenly into notice by their lively contrast with the dark
and faded complexion of the ground. The mosses, lichens, and
liverworts perform, therefore, an important part in the limning of the
vernal landscape. On the bald hills the surfaces of rocks that project
above the soil, and are covered with these plants, are brighter than
the turf that surrounds them, with its seared grasses and herbage.
They display circles of painted lichens, varying from an olive-gray to
red and yellow, and tufts of green mosses which surpass the fairest
artificial lawn in the perfection of their verdure. Many of the
flowerless plants are evergreen, especially the ferns and
lycopodiums, and nearly all are earlier than the higher forms of
vegetation in ripening their peculiar hues.
The first remarkable vernal tinting of the forest is manifest in the
spray of different trees. As soon as the sap begins to flow, every little
twig becomes brightened on the surface, as if it had been glossed by
art. The swelling of the bark occasioned by the flow of sap gives the
whole mass a livelier hue. This appearance is very evident in the
peach-tree, in willows and poplars, in the snowy mespilus, and in all
trees with a long and slender spray. Hence the ashen green of the
poplar, the golden green of the willow, and the dark crimson of the
peach-tree, the wild rose, and the red osier, are perceptibly
heightened by the first warm days of spring. Nor is this illumination
confined to the species I have named; for even the dull sprays of the
apple-tree, the cherry, the birch, and the lime, are dimly flushed with
the hue of reviving life. As many of the forest trees display their
principal beauty of form while in their denuded state, this seasonal
polish invites our attention, particularly to those with long and
graceful branches.
The swelling buds, which are for the most part very highly colored,
whether they enclose a leaf or a flower, add greatly to this luminous
appearance of the trees. These masses of innumerable buds, though
mere colored dots, produce in the aggregate a great amount of color.
This is apparent in all trees as soon as they are affected by the
warmth of the season. But as vegetation comes forward, the flower-
buds grow brighter and brighter, till they are fully expanded, some in
the form of fringes, as in most of our forest trees, others, as in our
orchard trees, in clusters of perfect flowers. This drapery of fringe,
seldom highly colored, but containing a great variety of pale shades,
that hangs from the oak, the birch, the willow, the alder, and the
poplar, is sufficient to characterize the whole forest, and forms one of
the most remarkable phenomena of vernal wood-scenery.
It is generally supposed that the beauties of tinted foliage are
peculiar to autumn. I do not recollect any landscape painting in
which the tints of spring are represented. All the paintings of colored
leaves are sketches of autumnal scenes, or of the warm glow of
sunlight. Yet there is hardly a tree or a shrub that does not display in
its opening leaves a pale shade of the same tints that distinguish the
species or the individual tree at the time of the fall of the leaf. The
birch and the poplar imitate in their half-developed leaves the yellow
tints of their autumnal dress, forming a yellow shade of green. The
tender leaves of the maple and of the different oaks are all greenish
purple of different shades. On the other hand, the foliage of trees that
do not change their color in the autumn displays only a diluted shade
of green, in its half-unfolded state. This remark, however, is not
universal in its application; for we see the lilac, that appears in
autumn without any change, coming out in the spring with dark
impurpled foliage.
Green cannot, therefore, be said to characterize a vernal landscape.
It belongs more especially to summer. The prevailing color of the
forest during the unfolding of the leaf, when viewed from an elevated
stand, is a cinereous purple, mingled with an olivegreen. The flowers
of the elm, of a dark maroon, and the crimson flowers of the red
maple, coming before their leaves, are an important element in the
earliest hues of the wood. The red maple, especially, which is the
principal timber of the swamps in all the southern parts of New
England, yields a warm and ruddy glow to the woods in spring,
hardly less to be admired than its own bright tints in October. Green
hues, which become, day by day, more apparent in the foliage, do not
predominate until summer has arrived and is fully established.
It is only in the spring that the different species of the forest can be
identified by their colors at distances too great for observing their
botanical characters. A red-maple wood is distinguished by the very
tinge that pervades the spray, when the trees are so far off that we
cannot see the forms of their branches and flowers, as if the ruddy
hues of morning illuminated the whole mass. A grove of limes would
be known by their dark-colored spray, approaching to blackness; an
assemblage of white birches by that of a chocolate-color diverging
from their clean white shafts. A beechen grove would manifest a light
cinereous color throughout, mixed with a pale green as the foliage
appears.
THE HORSE-CHESTNUT.