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Overview Palomar 5

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Carl Kerchmar

on 20 December 2012

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Transcript of Overview Palomar 5

Customized Successful products today let
us express ourselves:

Prosumer • Tribes • Open Source * Who's your favoriteTechi: Gaming
Virtual Identity
Green Innovation When everything is possible ...
what motivates you to create? In Need of Repair New thoughts, new combinations; same old stuff Make it part of your
work process E S C A P E xposure Ways of eeing ollage ugment ersonalise / Professionalise valuate Absence Muti
http://www.youtube.com/watch?v=hAXMV_jjMRo Karajan
http://www.youtube.com/watch?v=b-2j_27FeH0 Strauss
http://www.youtube.com/watch?v=D4foIt0xLcA&feature=PlayList&p=84E77AD1501AF523&playnext=1&playnext_from=PL&index=18 Carlos Kleiber
The Silent Conductor
DV8 No Leadership Dancing
DV8 Intention-dancing
HBR clip
http://www.youtube.com/watch?v=ytMnD853cTs&feature=PlayList&p=2F439D76CA9603F6&playnext=1&playnext_from=PL&index=2 Leaderclips Ego Purpose Reaction Response METHOD Soft Shoe
Shuffle Sensing Stepping
Stone Open
Space Improvisation Circle Summary: Summary: Summary: Personal Infinite
Play Intellectual Property Rights

This Western system is around 200 years old (first law resembling copyright was Act of Anne 1709; first international agreement the Berne Convention in 1886). It consists of copyright, trademarks and patents; and more recently, of personality rights. Copyright governs cultural production (music, literature, painting, photography and their equivalents in today's digital forms). In all cases you cannot protect and idea, only the physical or digital expression of the idea. Copyright lasts for between 50 years (in musical recordings) to 75 years after the death of the author. Ironically, the influential article "The death of the author" (see below) ushered in the "postmodern" turn in IP: the notion that there is no such thing as a stable, individual author. Trademark governs the logo and corporate identity, combining visuals and texts, of commercial entities. It is renewable time and again as long as an organisation can prove it is actively using the trademark. Patents protect scientific and technological inventions and/or innovations. The applicant for a patent must satisfy a number of criteria to prove invention/innovation. Personality rights pertain to a range of uses of famous names and persons. To give one example, the recent German TV project on the life of famous actress Romy Schneider had to cut much of its footage from the final version due to personality rights.

All Western IP law can be viewed under the following two characterisitcs: It limits what is allowed within artistic / scientific production; and it stimulates creativity by doing so. It protects effort and investment, and in the Continental IP thinking, also the personhood of the creator. The argument is that people or organisations would not invest in creations / innovations if the fruits of their labour remained unprotected and un-exploitable to them. On the "down side" the Western IPR system increasingly commodifies into private ownership many common property resources. Think of non-Western music and indigineous resources that are now owned by Western corporations. Also consider that the first Hip Hop albums which became a major influencer and financial stimulator for the music industry would today not be made due to stringent sampling laws and rising costs. Western IP law was majorly shaped by two types of philosophy: Hegelian and Lockean.

In the digital domain the same laws and rules apply as did pre-digital age. But the digital age has also spawned some new developments for IP. First, more and more producers choose to retain their rights instead of assigning them to publishers or record companies in return for investment, promotion etc. Second, more and more of these producers choose to make their works available to the public under the Creative Commons License (see below). CC is an initiative that sees itself as an addition (rather than an alternative) to the exisiting IP system. Third, the wider tendency now in society to share under open source models is ushering in a new era where the value of at least creative production and perhaps scientific endeavour is being re-negotiated. No one can accurately predict exactly where things will end up in this wider paradigm shift, but new business and value chain models will certainly start to compete with older ones.
Finally, the TRIPS agreement of 1993, incorporated into the World Trade Organisation in 1995, was a milestone in the history of Western IP. It serves two logics: (1) Global harmonisation of IPR, and (2) effective enforcement mechanisms. Depending on where you sit in the debate around IP you will love or hate TRIPS.
Selected links:
Creative Commons Leadership

It has been recognised for some time that different leadership styles are needed at different moments or stages in any organisation. Start-ups have different needs from companies that are in growth stage, and take-overs and mergers or companies in crisis again need specific leadership strategies.

What is more recent is the realisation that instead of replacing one leader and his style with another and her style, one and the same person should have a repertoire of leadership styles they can apply when needed.

For the leader of the future this poses at least three important challenges: (1) they have to learn relevant leadership styles, (2) they have to learn to recognise when which style might be needed, and (3) they have to be willing and able to act upon such a choice.

A related development in leadership is a combined new focus on product, process and "fertilisation" stage. Business used to be centred around making good products and selling them. Later, the importance of process was recognised: good process leads us to good products and make them easier to sell. More recently, another focus is being added. Much like parents might focus on having a healthy baby (=product) by giving it good and healthy nourishment (=process) and also trying to be healthy at the time of conception (=fertilisation), so business now recognises this chain of production. The internal state of the leader and team members before or at the time they start a new process that hopefully leads to good products is very important as well. In other words, the intentions and capacities of leaders and team members count before a process is started.

This has major implications for Personal Leadership. My ability to think beyond my self (ego) and commit to a purpose (ultimate product via good process and internal condition) is critical. My intentions and values are critical. My willingness to choose actions based on a common purpose is critical.

One way in which good leaders reveal themselves in practice, therefore, is how they negotiate reaction and response. A reaction is an immediate, emotion-based re-action vis-a-vis an action received. A response is a more measured re-action which bases itself on the purpose at hand.

The dance of Tango is an excellent embodied way to illustrate this, and also to illuminate wider notions of leadership. You can see leadership as a complex, ongoing management process of intentions and responses. Good leaders communicate (1) with their intentions, and (2) choose responses to other people's intentions. That means a leader sometimes intentions, sometimes responds. Both are acts of leadership. That means leading and leadership styles include anything from "taking the lead" to "giving the lead" to "responding to a lead" and also NOT responding to a lead. Standing still is an act of leadership, and so is leading from behind by enabling someone else to lead.

Good (personal) leadership is being conscious, second by second, of your and the team's common purpose, of whether and why you are led by ego or purpose, of communicating over and managing the interplay between intentions and responses. When this works well in a person, they can enter into a dance. When this works well between two persons they can dance well together and it is no longer relevant to ask, who is leading, who is following? When this works well among many dancers the dancefloor becomes a well functioning organism where innovation can also happen. But innovation can only happen if I allow myself to leave my comfort zone and welcome mindsets that differ from my own. If I only look for similarity and harmony I only serve my ego and not the purpose that is bigger than I (also see CREATIVITY, below, ESCAPE tool). A group that allows itself to celebrate and explore differences between each other has an innovative edge. To do this, each team member must engage in Empathy. Only by trying to see the world from your perspective (by inviting you to share) can I extend my own world and benefit from your input. Only by seeing the world from the motivations of my client can I truly serve the purpose of my assignment.

Leadership = serving. Leadership = humbleness. Leadership = being self-aware and living values. Leadership = being motivated by (common) purpose and goals. Creativity ...
is the management of absence. I introduced a number of tools and methods to you during this workshop. I will here briefly list them again based on my own model called "ESCAPE" (absence).

E = Exposure

Without knowledge and stimulation there can be no creativity. We need to expose ourselves to different experiences, ideas, fields of human activity and leave our comfort or normality zone. Read wildly, consume all sorts of media, engage in wide-ranging activities. Be curious about EVERYTHING and EVERYONE. Collect impressions, experiences, content, knowledge wherever you go.

S = (Ways of) Seeing

Based on the famous book by John Berger this stage is all about how you look at the world and the things you have exposed yourself to. It is a critical stage in creativity. When a very young child sees a gold fish in a pond for the first time it might exclaim: "Look, a water-carrot!" We need to see the world from a child's perspective again: When everything is genuinely new and exciting we see the complex properties and potential meanings and uses of a thing or phenomenon again. Change your perspective, ask again: what is this?, even if you've seen it a million times before. A famous example is the race to discover penicillin. Scientists were working to make this stuff in US and German laboratories. The story goes that when the Petri dishes were one day not properly cleaned, the German scientists returned on Monday morning and saw the dirty growth in the dishes and immediately cleaned it and disciplined the culprits. When the same thing happened in the US lab the scientists were curious to examine what exactly had grown in the dirty dishes ... and found out it was penicillin! (Peter Drucker's book)

Whether and how you perceive a thing matters!

C = Collage / Combinations / Connections

Once you have collected a wealth of exposure and trained yourself to look at that collection in fresh and novel ways it is time to recombine the different elements. Make connections between things that seemingly have nothing to do with one another. Humans have a habit of categorising everything, and forever staying within these categories can be deadly for creativity. Have the courage to juxta-position things. Take one thing from over here and ask, how does it impact another thing over there? Make stories out of your recombinations (Scenario Planning is an example). Put cookies together with flower seeds. Take a cultural taboo and merge it with a new idea (the Chinese artist & "Delay no more"). Work with the dialectical method like Cirque de Soleil did: take the best of two worlds and synthesise them into something completely new (Hegel's Dialectical Method: thesis - antithesis - synthesis). Do not look for harmony or agreement, embrace difference! A = Augment

Augmenting means: making it bigger. This is the moment where you fly in your creative process. With the help of E, S, and C you can now spin your ideas further and further. Do not censor yourself or others during this stage. Lose no idea. I noticed that during the Scenario Planning exercise in one group someone said: "I wonder what a funeral would look like in this new world?" The group did not pursue the question, although it was an excellent example of Augmentation. It's in the detail often where the true big insights lie during this stage. Let the butterflies out, let them fly everywhere, let them emerge in all their crazy colours and all their unpredictable flight paths and patterns.

P = Personalise / Professionalise

This is the stage where you bring things back down to earth, to your context, testing your creative ideas as to doability, realisticness, viability. On a personal level this means asking: What real insights does this give me here and now in the context of my topic or task? On the professional level it means asking, how can this be of actual value and use for my client, my organisation, my problem? It is the beginning of the Product stage (also see Leadership section).

E = Evaluate

Further tools:
- Soft Shoe Shuffle

(a physical representation of ideas and peoples' response to them)

- Open Space

(Loek will teach you this tool)

- Building Blocks

(In teams or individually you share ideas and develop other peoples' ideas rather than your own. This is a good example of the 'C' stage in my model)

- Sensing

(Sit in a circle and be quiet, trying to 'catch' the ideas that are in the room. Every time you sense something write it down quickly. Later, compare notes. There might be some similar ideas emerging. For sure the process tells you what your assumptions are about the ideas living in a team member's head)

- Make a movie story line

(inspired by your favourite creative stories ever, put together a movie script around your topic, i.e. future of work) http://creativecommons.org http://www.wto.org/english/tratop_e/trips_e/t_agm0_e.htm TRIPS Article by Kwela Sabine Hermanns http://books.google.com/books?id=OMvPdTd5KC8C&pg=PA244&lpg=PA244&dq=Kwela+Sabine+Hermanns&source=bl&ots=Fns3dcO_gJ&sig=9G5G4gg8pFdJAiDSBVgzZaX1BE8&hl=en&ei=zyjgStXqJ4TA-QaJr4y9Cw&sa=X&oi=book_result&ct=result&resnum=9&ved=0CBwQ6AEwCA#v=onepage&q=Kwela%20Sabine%20Hermanns&f=false The Death of the Author ( Roland Barthes ) http://en.wikipedia.org/wiki/Death_of_the_Author
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