CONTROL THE DYNAMIC
People are constantly struggling to control you--getting you to act in their interests, keeping the dynamic on their terms. The only way to get the upper hand is to make your play for control more intelligent and insidious. Instead of trying to dominate the other side's every move, work to define the nature of the relationship itself. Shift the conflict to terrain of your choice, altering the pace and stakes to suit you. Maneuver to control your opponents' minds, pushing their emotional buttons, and compelling them to make mistakes. If necessary, let them feel they are in control in order to get them to lower their guard. If you control the overall direction and framing of the battle, anything they do will play into your hands.
THE ART OF ULTIMATE CONTROL
Control is an issue in all relationships. It is human nature to abhor feelings of helplessness and to strive for power. Whenever two people or groups interact, there is a constant maneuvering between them to define the relationship, to determine who has control over this and that. This battle of wills is inevitable. Your task as a strategist is twofold: First, recognize the struggle for control in all aspects of life, and never be taken in by those who claim they are not interested in control. Such types are often the most manipulative of all. Second, you must master the art of moving the other side like pieces on a chessboard, with purpose and direction. This art was cultivated by the most creative generals and military strategists throughout the ages.
War is above all else a struggle over who can control the actions of the other side to a greater extent. Military geniuses such as Hannibal, Napoleon, and Erwin Rommel discovered that the best way to attain control is to determine the overall pace, direction, and shape of the war itself. This means getting enemies to fight according to your tempo, luring them onto terrain that is unfamiliar to them and suited to you, playing to your strengths. And, most important of all, it means gaining influence over the frame of mind of your opponents, adapting your maneuvers to their psychological weaknesses.
The superior strategist understands that it is impossible to control exactly how an enemy will respond to this move or that. To attempt to do so will only lead to frustration and exhaustion. There is too much in war and in life that is unpredictable. But if the strategist can control the mood and mind-set of his enemies, it does not matter exactly how they respond to his maneuvers. If he can make them frightened, panicky, overly aggressive, and angry, he controls the wider scope of their actions and can trap them mentally before cornering them physically.
Control can be aggressive or passive. It can be an immediate push on the enemy, making him back up and lose the initiative. It can be playing possum, getting the enemy to lower his guard, or baiting him into a rash attack. The artist of control weaves both of these into a devastating pattern--hitting, backing off, baiting, overwhelming.
This art is infinitely applicable to the battles of everyday life. Many people tend to play unconscious games of domination or get caught up in trying to control someone else's every move. In trying to mange and determine too much, they exhaust themselves, makes mistakes, push people away, and in the end lose control of the situation. If you understand and master the art, you will instantly become more creative in your approach to influencing and controlling the other side. By determining people's moods, the pace at which they must move, the stakes involved, you will find that almost anything people do in response to your maneuvers will fit into the overall dynamic you have shaped. They may know they are being controlled but be helpless to fight it, or they may move in the direction you desire without realizing it. That is ultimate control. The following are the four basic principles of the art.
In short, I think like Frederick [the Great], once should always be the first to attack.
NAPOLEON BONAPARTE, 1769-1821
Keep them on their heels. Before the enemy makes a move, before the element of chance or the unexpected actions of your opponents can ruin your plans, you make an aggressive move to seize the initiative. You then keep up a relentless pressure, exploiting this momentary advantage to the fullest. You do not wait for opportunities to open up; you make them yourself. If you are the weaker side, this will often more than level the playing field. Keeping your enemies on the defensive and in react mode will have a demoralizing effect on them.
Shift the battlefield. An enemy naturally wants to fight you on familiar terrain. Terrain in this sense means all of the details of the battle--the time and place, exactly what is being fought over, who is involved in the struggle, and so on. By subtly shifting your enemies into places and situations that are not familiar to them, you control the dynamic. Without realizing what is happening, your opponents find themselves fighting on your terms.
Compel mistakes. Your enemies depend on executing a strategy that plays to their advantages, that has worked in the past. Your task is twofold: to fight the battle in such a way that they cannot bring their strength or strategy into play and to create such a level of frustration that they make mistakes in the process. You do not give them enough time to do anything; you play to their emotional weaknesses, making them as irritable as possible; you bait the into deadly traps. It is less your action than their missteps that give you control.
Assume passive control. The ultimate form of domination is to make those on the other side think they are the ones in control. Believing they are in command, they are less likely to resist you or become defensive. You create this impression by moving with the energy of the other side, giving ground but slowly and subtly diverting them in the direction you desire. It is often the best way to control the overly aggressive and the passive-aggressive.
One who excels at warfare compels men and is not compelled by others.
--Sun-tzu (fourth century B.C.)
HISTORICAL EXAMPLES
1. By the end of 1940, British forces in the Middle East had been able to secure their position in Egypt and take back a good part of Libya that the Italians (an ally of Germany) had seized early in World War II. Having captured the important port town of Benghazi, the British were poised to advance farther west, all the way to Tripoli, allowing them to push the Italians out of the country for good. Then unexpectedly, a halt was called in their advance. General Archibald Wavell, commander in chief of British forces in the Middle East, was waging battle on too many fronts. Since the Italians had proved themselves to be rather inept in desert warfare, the British felt they could afford to create a defensive line in Libya, build up their forces in Egypt, and launch a major offensive against the Italians by April of the following year.
News that a German armored brigade under the leadership of General Erwin Rommel had arrived in Tripoli in February 1941 did not alter the British plans. Rommel had been a superb commander during the blitzkrieg in France the previous year. But here he was under Italian command, dependent on the incompetent Italians for supplies, and his force was too small to make the British nervous. In addition, intelligence reports revealed that Hitler had sent him there with orders to do no more than block the British from advancing to Tripoli.
Then, without warning, at the end of March 1941, Rommel's tanks swept eastward. Rommel had broken up his small force into columns, and he hurled them in so many directions against the British defensive line that it was hard to fathom his intentions. These mechanized columns moved with incredible speed; advancing at night with lights dimmed, time and again they caught their enemy by surprise, suddenly appearing to their flank or rear. As their line was breached in multiple places, the British were compelled to retreat farther and farther east. To Wavell, who was following these events from Cairo, this was downright shocking and humiliating: Rommel was causing chaos with a disproportionately small number of tanks and severe supply limitations. Within a few weeks, the Germans had advanced to the border of Egypt.
What was most devastating about this offensive was the novel way in which Rommel fought. He used the desert as if it were an ocean. Despite supply problems and the difficult terrain, he kept his tanks in perpetual motion. The British could not let up their guard for a moment and this mentally exhausted them. But his movements, though seemingly random, were always for a purpose. If he wanted to take a particular city, he would head in the opposite direction, then circle and attack from an unexpected side. He brought along an armada of trucks to kick up enough dust so that the British could not see where he was headed and to give the impression of much larger force than was actually on the attack.
Rommel would ride with the front line, risking death so that he could make rapid judgments on the move, sending his columns here and there before the British had time to figure out the game. And he used his tanks in the opposite way of the British, to deadly effect. Instead of pushing them forward to punch holes in the enemy lines, he would send out his weakest tanks, then have them retreat at first contact; the British tanks would invariably swallow the bait and go in pursuit, kicking up so much of their own dust in the process that they would not see they were running straight into a line of German antitank guns. Once a sufficient number of British tanks had been taken out, Rommel would advance again, wreaking havoc behind the British lines.
Kept constantly on their heels, forced to come to rapid decisions in response to Rommel's moves, the British made endless mistakes. Not knowing where he might show up next, or from what direction, they spread their forces over dangerous areas. Before long, at the mere mention that a German column was approaching, Rommel at its head, the British would abandon their position, even though they greatly outnumbered him. In the end the only thing that stopped him was Hitler's obsession with Russia, which bled Rommel of the supplies and reinforcements he needed to conquer Egypt.
Interpretation
This is how Rommel analyzed the situation first confronting him: The enemy had a strong position to the east, which would only get stronger as more supplies and men came from Egypt. Rommel had a much smaller force, and the longer he waited, the more useless it would become. And so he decided to disobey Hitler's orders, risking his career on a truth he had learned in the blitzkrieg in France: making the first hit against the enemy completely alters the dynamic. If the enemy is the stronger side, it is upsetting and discouraging to be suddenly put on the defensive. Being larger and unprepared makes it harder to organize an orderly retreat.
To get his strategy to work, Rommel had to create maximum disorder in the enemy. In the ensuring confusion, the Germans would seem more formidable that they were. Speed, mobility, and surprise--as agents of such chaos--became ends in themselves. Once the enemy was on its heels, a deceptive maneuver--heading one way, then attacking from another--had double the effect. An enemy that is in retreat and without time to think will make endless mistakes if you keep up the pressure. Ultimately, the key to Rommel's success was to seize the initiative with one bold maneuver, then exploit this momentary advantage to the fullest.
Everything in this world conspires to put you on the defensive. At work, your superiors may want the glory for themselves and will discourage you from taking the initiative. People are constantly pushing and attacking you, keeping you in react mode. You are continually reminded of your limitations and what you cannot hope to accomplish. You are made to feel guilty for this and that. Such defensiveness on your part can become a self-fulfilling prophecy. Before anything, you need to liberate yourself from this feeling. By acting boldly, before others are ready, by moving to seize the initiative, you create your own circumstances rather than simply waiting for what life brings you. Your initial push alters the situation, on your terms. People are made to react to you, making you seem larger and more powerful than may be the case. The respect and fear you inspire will translate into offensive power, a reputation that precedes you. Like Rommel, you must also have a touch of madness: ready to disorient and confuse for its own sake, to keep advancing no matter the circumstance. It is up to you--be constantly defensive or make other feel it instead.
Given the same amount of intelligence, timidity will do a thousand times more damage in war than audacity.
CARL VON CLAUSEWITZ, 1780-1831
To alter the dynamic, you must first recognize that there is far less helplessness in their behavior than they let on. Second, these people need to feel that everything takes place on their terms; threaten that desire and they fight back in underhanded ways. You must never inadvertently feed their rebelliousness by arguing, complaining, trying to push them in a direction. This makes them feel more under attack, more like a victim, and encourages passive revenge. Instead move within their system of control, applying Erickson's Utilization Technique. By sympathetic to their plight, but make it seem that whatever they do, they are actually cooperating with your desires. That will put them off balance, if they rebel now, they are playing into your hands. The dynamic will subtly shift, and you will have room to insinuate change. Similarly, if the other person wields a fundamental weakness as a weapon (the heart-attack tactic), make that threat impossible to use against you by taking it further, to the point of parody or painfulness. The only way to beat passive opponents is to outso them in subtle control.
Image: The Boxer. The superior fighter does not rely on his powerful punch or quick reflexes. Instead he creates a rhythm to the fight that suits him, advancing and retreating at a pace he sets; he controls the ring, moving his opponent to the center, to the ropes, toward or away from him. Master of time and space, he creates frustration, compels mistakes, and engenders a mental collapse that precedes the physical. He wins not with his fists but by controlling the ring.
Authority: In order to have rest oneself it is necessary to keep the enemy occupied. This throws them back on the defensive, and once they are placed that way they cannot rise up again during the entire campaign. --Frederick the Great (1712-1786)
REVERSAL
This strategy has no reversal. Any effort to seem not to control a situation, to refuse to influence a relationship, is in fact a form of control. By ceding power to others, you have gained a kind of passive authority that you can use later for your own purposes. You are also the one determining who has control by relinquishing it to the other side. There is no escape from the control dynamic. Those who say they are doing so are playing the most insidious control game of all.
THE ART OF ULTIMATE CONTROL
Control is an issue in all relationships. It is human nature to abhor feelings of helplessness and to strive for power. Whenever two people or groups interact, there is a constant maneuvering between them to define the relationship, to determine who has control over this and that. This battle of wills is inevitable. Your task as a strategist is twofold: First, recognize the struggle for control in all aspects of life, and never be taken in by those who claim they are not interested in control. Such types are often the most manipulative of all. Second, you must master the art of moving the other side like pieces on a chessboard, with purpose and direction. This art was cultivated by the most creative generals and military strategists throughout the ages.
War is above all else a struggle over who can control the actions of the other side to a greater extent. Military geniuses such as Hannibal, Napoleon, and Erwin Rommel discovered that the best way to attain control is to determine the overall pace, direction, and shape of the war itself. This means getting enemies to fight according to your tempo, luring them onto terrain that is unfamiliar to them and suited to you, playing to your strengths. And, most important of all, it means gaining influence over the frame of mind of your opponents, adapting your maneuvers to their psychological weaknesses.
The superior strategist understands that it is impossible to control exactly how an enemy will respond to this move or that. To attempt to do so will only lead to frustration and exhaustion. There is too much in war and in life that is unpredictable. But if the strategist can control the mood and mind-set of his enemies, it does not matter exactly how they respond to his maneuvers. If he can make them frightened, panicky, overly aggressive, and angry, he controls the wider scope of their actions and can trap them mentally before cornering them physically.
Control can be aggressive or passive. It can be an immediate push on the enemy, making him back up and lose the initiative. It can be playing possum, getting the enemy to lower his guard, or baiting him into a rash attack. The artist of control weaves both of these into a devastating pattern--hitting, backing off, baiting, overwhelming.
This art is infinitely applicable to the battles of everyday life. Many people tend to play unconscious games of domination or get caught up in trying to control someone else's every move. In trying to mange and determine too much, they exhaust themselves, makes mistakes, push people away, and in the end lose control of the situation. If you understand and master the art, you will instantly become more creative in your approach to influencing and controlling the other side. By determining people's moods, the pace at which they must move, the stakes involved, you will find that almost anything people do in response to your maneuvers will fit into the overall dynamic you have shaped. They may know they are being controlled but be helpless to fight it, or they may move in the direction you desire without realizing it. That is ultimate control. The following are the four basic principles of the art.
In short, I think like Frederick [the Great], once should always be the first to attack.
NAPOLEON BONAPARTE, 1769-1821
Keep them on their heels. Before the enemy makes a move, before the element of chance or the unexpected actions of your opponents can ruin your plans, you make an aggressive move to seize the initiative. You then keep up a relentless pressure, exploiting this momentary advantage to the fullest. You do not wait for opportunities to open up; you make them yourself. If you are the weaker side, this will often more than level the playing field. Keeping your enemies on the defensive and in react mode will have a demoralizing effect on them.
Shift the battlefield. An enemy naturally wants to fight you on familiar terrain. Terrain in this sense means all of the details of the battle--the time and place, exactly what is being fought over, who is involved in the struggle, and so on. By subtly shifting your enemies into places and situations that are not familiar to them, you control the dynamic. Without realizing what is happening, your opponents find themselves fighting on your terms.
Compel mistakes. Your enemies depend on executing a strategy that plays to their advantages, that has worked in the past. Your task is twofold: to fight the battle in such a way that they cannot bring their strength or strategy into play and to create such a level of frustration that they make mistakes in the process. You do not give them enough time to do anything; you play to their emotional weaknesses, making them as irritable as possible; you bait the into deadly traps. It is less your action than their missteps that give you control.
Assume passive control. The ultimate form of domination is to make those on the other side think they are the ones in control. Believing they are in command, they are less likely to resist you or become defensive. You create this impression by moving with the energy of the other side, giving ground but slowly and subtly diverting them in the direction you desire. It is often the best way to control the overly aggressive and the passive-aggressive.
One who excels at warfare compels men and is not compelled by others.
--Sun-tzu (fourth century B.C.)
HISTORICAL EXAMPLES
1. By the end of 1940, British forces in the Middle East had been able to secure their position in Egypt and take back a good part of Libya that the Italians (an ally of Germany) had seized early in World War II. Having captured the important port town of Benghazi, the British were poised to advance farther west, all the way to Tripoli, allowing them to push the Italians out of the country for good. Then unexpectedly, a halt was called in their advance. General Archibald Wavell, commander in chief of British forces in the Middle East, was waging battle on too many fronts. Since the Italians had proved themselves to be rather inept in desert warfare, the British felt they could afford to create a defensive line in Libya, build up their forces in Egypt, and launch a major offensive against the Italians by April of the following year.
News that a German armored brigade under the leadership of General Erwin Rommel had arrived in Tripoli in February 1941 did not alter the British plans. Rommel had been a superb commander during the blitzkrieg in France the previous year. But here he was under Italian command, dependent on the incompetent Italians for supplies, and his force was too small to make the British nervous. In addition, intelligence reports revealed that Hitler had sent him there with orders to do no more than block the British from advancing to Tripoli.
Then, without warning, at the end of March 1941, Rommel's tanks swept eastward. Rommel had broken up his small force into columns, and he hurled them in so many directions against the British defensive line that it was hard to fathom his intentions. These mechanized columns moved with incredible speed; advancing at night with lights dimmed, time and again they caught their enemy by surprise, suddenly appearing to their flank or rear. As their line was breached in multiple places, the British were compelled to retreat farther and farther east. To Wavell, who was following these events from Cairo, this was downright shocking and humiliating: Rommel was causing chaos with a disproportionately small number of tanks and severe supply limitations. Within a few weeks, the Germans had advanced to the border of Egypt.
What was most devastating about this offensive was the novel way in which Rommel fought. He used the desert as if it were an ocean. Despite supply problems and the difficult terrain, he kept his tanks in perpetual motion. The British could not let up their guard for a moment and this mentally exhausted them. But his movements, though seemingly random, were always for a purpose. If he wanted to take a particular city, he would head in the opposite direction, then circle and attack from an unexpected side. He brought along an armada of trucks to kick up enough dust so that the British could not see where he was headed and to give the impression of much larger force than was actually on the attack.
Rommel would ride with the front line, risking death so that he could make rapid judgments on the move, sending his columns here and there before the British had time to figure out the game. And he used his tanks in the opposite way of the British, to deadly effect. Instead of pushing them forward to punch holes in the enemy lines, he would send out his weakest tanks, then have them retreat at first contact; the British tanks would invariably swallow the bait and go in pursuit, kicking up so much of their own dust in the process that they would not see they were running straight into a line of German antitank guns. Once a sufficient number of British tanks had been taken out, Rommel would advance again, wreaking havoc behind the British lines.
Kept constantly on their heels, forced to come to rapid decisions in response to Rommel's moves, the British made endless mistakes. Not knowing where he might show up next, or from what direction, they spread their forces over dangerous areas. Before long, at the mere mention that a German column was approaching, Rommel at its head, the British would abandon their position, even though they greatly outnumbered him. In the end the only thing that stopped him was Hitler's obsession with Russia, which bled Rommel of the supplies and reinforcements he needed to conquer Egypt.
Interpretation
This is how Rommel analyzed the situation first confronting him: The enemy had a strong position to the east, which would only get stronger as more supplies and men came from Egypt. Rommel had a much smaller force, and the longer he waited, the more useless it would become. And so he decided to disobey Hitler's orders, risking his career on a truth he had learned in the blitzkrieg in France: making the first hit against the enemy completely alters the dynamic. If the enemy is the stronger side, it is upsetting and discouraging to be suddenly put on the defensive. Being larger and unprepared makes it harder to organize an orderly retreat.
To get his strategy to work, Rommel had to create maximum disorder in the enemy. In the ensuring confusion, the Germans would seem more formidable that they were. Speed, mobility, and surprise--as agents of such chaos--became ends in themselves. Once the enemy was on its heels, a deceptive maneuver--heading one way, then attacking from another--had double the effect. An enemy that is in retreat and without time to think will make endless mistakes if you keep up the pressure. Ultimately, the key to Rommel's success was to seize the initiative with one bold maneuver, then exploit this momentary advantage to the fullest.
Everything in this world conspires to put you on the defensive. At work, your superiors may want the glory for themselves and will discourage you from taking the initiative. People are constantly pushing and attacking you, keeping you in react mode. You are continually reminded of your limitations and what you cannot hope to accomplish. You are made to feel guilty for this and that. Such defensiveness on your part can become a self-fulfilling prophecy. Before anything, you need to liberate yourself from this feeling. By acting boldly, before others are ready, by moving to seize the initiative, you create your own circumstances rather than simply waiting for what life brings you. Your initial push alters the situation, on your terms. People are made to react to you, making you seem larger and more powerful than may be the case. The respect and fear you inspire will translate into offensive power, a reputation that precedes you. Like Rommel, you must also have a touch of madness: ready to disorient and confuse for its own sake, to keep advancing no matter the circumstance. It is up to you--be constantly defensive or make other feel it instead.
Given the same amount of intelligence, timidity will do a thousand times more damage in war than audacity.
CARL VON CLAUSEWITZ, 1780-1831
To alter the dynamic, you must first recognize that there is far less helplessness in their behavior than they let on. Second, these people need to feel that everything takes place on their terms; threaten that desire and they fight back in underhanded ways. You must never inadvertently feed their rebelliousness by arguing, complaining, trying to push them in a direction. This makes them feel more under attack, more like a victim, and encourages passive revenge. Instead move within their system of control, applying Erickson's Utilization Technique. By sympathetic to their plight, but make it seem that whatever they do, they are actually cooperating with your desires. That will put them off balance, if they rebel now, they are playing into your hands. The dynamic will subtly shift, and you will have room to insinuate change. Similarly, if the other person wields a fundamental weakness as a weapon (the heart-attack tactic), make that threat impossible to use against you by taking it further, to the point of parody or painfulness. The only way to beat passive opponents is to outso them in subtle control.
Image: The Boxer. The superior fighter does not rely on his powerful punch or quick reflexes. Instead he creates a rhythm to the fight that suits him, advancing and retreating at a pace he sets; he controls the ring, moving his opponent to the center, to the ropes, toward or away from him. Master of time and space, he creates frustration, compels mistakes, and engenders a mental collapse that precedes the physical. He wins not with his fists but by controlling the ring.
Authority: In order to have rest oneself it is necessary to keep the enemy occupied. This throws them back on the defensive, and once they are placed that way they cannot rise up again during the entire campaign. --Frederick the Great (1712-1786)
REVERSAL
This strategy has no reversal. Any effort to seem not to control a situation, to refuse to influence a relationship, is in fact a form of control. By ceding power to others, you have gained a kind of passive authority that you can use later for your own purposes. You are also the one determining who has control by relinquishing it to the other side. There is no escape from the control dynamic. Those who say they are doing so are playing the most insidious control game of all.
Comments