A New Paradigm of Development
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What Comes After Web 2.0? Web 3.0. Web 4.0 And The Future

What Comes After Web 2.0? Web 3.0. Web 4.0 And The Future | A New Paradigm of Development | Scoop.it

What comes after Web 2.0? 

 

Are we nearing a new age for the Internet?

 

Will Web 3.0 be a revolutionary shift and what exactly will its central features be? 

 

While a lot of what is being said about Web 3.0 and Web 4.0 is informed speculation, it’s undoubtedly an exciting time for the Internet. Is a veritable revolution in the way we interact with information upon us?

 

Myriad questions require answers, but for the moment web users can only rely on extremely educated guesses as to what Web 3.0 will ultimately be like.

 

Before considering ideas about what advances will be made by Web 3.0, it’s useful to first remind ourselves of some of the core characteristics of Web 2.0.


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Tom George's comment, January 7, 2012 10:15 PM
Interesting Antonio thanks for sharing this today.
A New Paradigm of Development
Unfavorable conditions dictate a New Paradigm of Development, namely the introduction of Nanotechnology for consumers.
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10 Creativity Quotes to Kick Off Your Year

10 Creativity Quotes to Kick Off Your Year | A New Paradigm of Development | Scoop.it
Get inspired to feel inspired.

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The Neuroscience of Strategic Leadership

The Neuroscience of Strategic Leadership | A New Paradigm of Development | Scoop.it
Neuroscience research shows how to become a better leader.
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Why Creativity Matters Most for Entrepreneurs

Why Creativity Matters Most for Entrepreneurs | A New Paradigm of Development | Scoop.it
Creativity is one of the most important qualities an entrepreneur can have. Here's why it matters and how you can harness it in your business endeavors.

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"The invention of Gatorade is a perfect example of a creative collision," Cade Miles told BusinessNewsDaily. "It took experts from two seemingly unrelated subjects, nephrology and football, to bring about the completely new category of sports beverages." [Creativity Requires Confidence: How to Get More of Both]  -  */S.Y\  A Multi - Level Creativity is new KIND of TRUST.
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Michael Plishka's curator insight, January 24, 2014 2:08 AM

Great reminders on Creativity

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Cross-Cultural Leadership: How to Create People Alignment

Cross-Cultural Leadership: How to Create People Alignment | A New Paradigm of Development | Scoop.it

Today’s and tomorrow’s leaders are more and more facing cross-cultural challenges caused by globalization, emerging economies and new markets. How to notice differences in cultures? How to understand their impact on people behavior and performance? How to avoid cross-cultural friction and conflict? How to lead people and teams with different cultural backgrounds? How to create successful collaboration and teamwork cross-border? Effectively dealing with cross-cultural challenges like these is rapidly becoming one of the key differentiators for effective leaders and successful companies.

 

The cross-cultural business environment is creating a fundamental mind shift: the ‘soft’ side of business (culture, people, teamwork, etc.) is turning out to be a very ‘hard’ element in creating business success. Mastering the essence of people alignment is a crucial competence for today’s leaders.

 

What differentiates leaders that master the essence of people alignment? Over the years I have worked with many leaders in many different cultures and I’ve identified two important elements in the behavior of successful leaders. First of all, they do not perceive creating people alignment as an activity next to all the other leadership activities, but it is on their mind in everything they do. Secondly, they understand that their ability to align people depends on the extent to which they create personal alignment with respect to the environment where they operate.

 

Personal alignment is about understanding yourself. It is about being in balance with the inter-cultural environment where you find yourself. It is about being able to explain and show others where you stand within this environment of cultural differences and why. It creates trust, transparency, and confidence. The impact of a lack of personal alignment on your leadership behavior and on the organization is direct and significant. Creating people alignment starts with having a sufficient level of personal alignment. Especially in cross-cultural environments personal alignment can be challenged easily. Successful leaders are aware when personal misalignment occurs, and they pay special attention to fixing it.

 

How can you spot potential areas of personal misalignment in cross-cultural environments? How to create your personal ‘leadership compass’ that guides you to potential weak spots in your personal alignment? The following questions might help you in building your compass:

 

What are my core qualities? How do I use these in my work as a leader? How do they fit the inter-cultural challenges that I face? How do they support my cross-cultural effectiveness?


What are my most important values that define who I am and how I act as a leader? How do I express these values as a leader? (Focus on the 3-5 most important values)


How do my values fit the company’s vision, mission, and strategy? Where do I feel misalignment?


How do my values fit the corporate culture and subcultures? What cross-cultural differences do I perceive? How do they make me feel? What is the effect on my behavior?


Do I understand the cross-cultural differences that I experience? How can I increase my understanding? How can I increase other’s understanding of my perception and observations?


What qualities do I want to improve or develop to increase my cross-cultural effectiveness? How could people in my environment support me with this (peers, colleagues, team members, mentors, coaches)?


How do you create alignment in cross-cultural environments? How is your level of personal alignment? What questions would you add to the list above? Share your ideas and thoughts and join us in the discussion.

 

The Part 2 of this series will talk about a next important level of cross-cultural alignment: team alignment...


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The cross-cultural business environment is creating a fundamental mind shift: the ‘soft’ side of business (culture, people, teamwork, etc.) is turning out to be a very ‘hard’ element in creating business success. Mastering the essence of people alignment is a crucial competence for today’s leaders.  -  */S.Y\  How measure Creativity? - */S.Y\ Need Index of Creativity. This is Interpersonal Gradient of Growth for your Creativity .
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Connecting Creativity to Understanding

Connecting Creativity to Understanding | A New Paradigm of Development | Scoop.it

February 2013 | Volume 70 | Number 5
Creativity Now! Pages 65-70

Connecting Creativity to Understanding

Lois Hetland

Knowledge is crucial—but it's not enough to prepare students for productive citizenship in a complex, fast-paced, and rapidly changing world.

Students walk into their 7th grade history classroom where they've been studying the colonial period in America. But what they see in class today looks more like an art studio than a place for research. Desks and chairs have been pushed aside, and a sheet covers a lumpy mound in the center of the room. Colored pencils, oil pastels, watercolors, and art papers are arrayed on the floor, like place settings around a centerpiece. As students enter, their teacher invites them to find a spot where they'll be comfortable for 45 minutes, because once class begins, they won't be able to move—not even to sharpen a pencil or go to the bathroom.

Once they're settled in, the teacher gives an intentionally vague directive:

 

Under this sheet is a group of objects that go together somehow. For the next 45 minutes, while staying in your place and not talking, your job is to represent what you see, using the materials at your place. How you do that is up to you.

 

The teacher removes the sheet, turns on music, and begins timing.

I used this experience to develop students' appreciation of perspective in historical texts. The still life hidden beneath the sheet was stacked on stools and tables and was covered by a patterned tablecloth. It was composed of ingredients for apple crisp—apples, a lemon, butter, oats, cinnamon, and sugar—as well as a recipe card and baking equipment, such as measuring cups, a pan, spatulas, and mixing bowls. But the students could only see the side of the mountain of objects that faced them (the recipe card, for example, could only be seen from two or three spots), and they didn't know that the mound was composed of all the elements needed to make apple crisp.

Students had to interpret what they were seeing, as people do when they observe a historical event. Observers see an event unfolding around them, but they have only partial knowledge of what it means. They may only see what's happening near them, get sidetracked by irrelevant details, or be too close to understand the event in full.

In the same way, students, with their partial knowledge and limited viewpoints, had to choose what to represent and how. Rather than assuming that I wanted them to depict the entire array of objects (a default assumption common in beginning drawers), they had to decide what "represent what you see" meant to them.

One student drew a single apple; one focused on the pattern of the tablecloth; one drew an apple pie, choosing to represent the still life as its implied finished product. Later, the students compared their work with that of their peers, viewing the artifacts as documents describing something that happened on this day in this place—as primary sources.

As students reflected together about their drawings, they began to see primary documents and historical texts anew. Texts didn't tell the "truth"; instead, they told stories from unique "positioned" points of view. These primary documents became pieces in a puzzle. Students experienced how all interpretations are inherently biased and can only be understood in the context of those who created them. One or another of my former students occasionally finds me and tells me that the subject "history" changed for them that day—from memorizing dates and names to creating and interpreting stories of the past on the basis of careful comparison of multiple documents.

Educating—For What?

Are these students developing new ways of thinking about and understanding history? Are they acquiring creativity of the sort worth developing, either in general or for budding historians—and who decides? These questions go to the heart of what education is all about.

Let's begin by tackling the term itself. Creativity can be a confusing topic because people address many different ideas with this single word. Lately, "the creative economy" is in common parlance, but creativity traditionally evokes other associations, including creative genius, creative insight, creative classrooms, or references to God the creator. The broad use of the term makes it difficult to focus conversation about creativity as it relates to schooling.

Thankfully, Kozbelt, Beghetto, and Runco (2010) summarized research on creativity and identified four ways it's been studied—in terms of creative products (the iPhone or Google); persons (Steve Jobs or Maya Lin); processes (the collaborative, iterative process of design thinking); and places (Silicon Valley or an artist's studio). My own interest in an education for creativity centers on three of these four ways: on nurturing creative persons through creative processes in creative places.

Tying such an education to a creative economy is fine with me, as long as the tail doesn't wag the dog. Education's purpose is not just to produce workers, even though it used to be; many schools were designed during the Industrial Revolution to fill factory jobs and keep workers' children off the streets. But schools have the potential to serve as incubators for creative and ethical people who can shape our futures, such as the "good workers" whom Gardner, Csikszentmihalyi, and Damon (2001) describe in their work.

There's a big difference between educating for creativity and educating students for factory work. It's a serious endeavor to shift the weight of schooling's work-related legacy and reframe schools as places to aim for the higher cognitive processes of creative and critical thinking.

Defining Understanding

Schools often seem to default to a vision of education as knowledge acquisition, which the fervor for testing has only exacerbated; students "succeed" when they can reproduce knowledge on demand from memory. No one should belittle the importance of knowledge—it's an essential component of wisdom and raw material for constructing what society needs and values. But if education focuses primarily on knowledge acquisition, students are unlikely to learn to behave as democratic citizens must—that is, as active, informed, ethical participants in shaping our collective futures.

If students are to emerge from their educations with those qualities, then we must shift away from knowledge acquisition as the measure of success. But should we move toward educating for creativity—or something else?

From 1989 to 1996, Project Zero and the Harvard Graduate School of Education conducted research around the development of disciplinary understanding as education's goal, a legacy from Jerome Bruner's work from the 1950s (Bruner, 2006). The definition of understanding developed in that project leads us one step closer to educating for creativity.

Understanding and Performance

Understanding—defined by this research as performance—is the capacity to use what you know flexibly in response to novel circumstances (Blythe & Associates, 1998; Wiske, 1998). That definition harbors two advantages over knowledge acquisition as education's goal. First, understanding so defined activates knowledge. For example, history is not just historical facts—dates, sequences, names, and events—but, rather, a set of lenses for interpreting multiple and complex causes and effects to explain past and present conditions. Second, by aiming schooling toward understanding, learning takes on the character of being for something. Students must learn to use knowledge to achieve an intention—for instance, to address the challenges of an unknown future in a time of rapid change.

The researchers found that the performance view of understanding is what most people mean when they say they really understand something. Although it's easy to lapse into a sense that understanding is something to have rather than something to do, genuine understanding suggests a more dynamic set of higher-order relationships with the world.

Understanding and Thinking Dispositions

Understanding and thinking are closely tied. Thought builds understanding—and people can aim thinking at some intention. But when the researchers looked at previous findings about skill in thinking, the findings showed that teaching thinking skills, such as logical approaches to problem solving, is not enough to create understanding; skills taught in isolation are as inert as their knowledge-fragment cousins. Students who learned such approaches or strategies rarely used them when confronted with unfamiliar challenges. There's a transfer problem—a problem of application to novel circumstances.

In response, Perkins and colleagues developed the idea of thinking dispositions (Perkins, Jay, & Tishman, 1993; Tishman, Jay, & Perkins, 1993). Skill in thinking needs to be tied to attitudes that motivate and connect thinking to purpose. Otherwise, skill spins its wheels without going anywhere. So, to educate for understanding, educators have to nurture two other elements of dispositions beyond skill: inclination—the drive, need, or passion that pushes people to use their skills—and alertness—the sensitivity, awareness, or recognition of connections among the bits of information that constantly stream past us.

That begins to sound something like creativity, does it not? Understanding, in the performance sense, uses knowledge for a novel purpose, with thinking dispositions as the engine and fuel for getting there. Perhaps educating for understanding is educating for creativity?

Understanding vs. Creativity

As I began pondering connections between understanding and creativity, I talked with David Perkins about it. "Creativity," Perkins said, "is transgressive." On the other hand, understanding—that is, performed understanding using disciplinary knowledge and thinking dispositions—is what experts do within accepted domain boundaries.

Developing such expertise and understanding in the various domains is certainly a rigorous and worthy goal for education. But that's not educating for creativity. Educating for understanding doesn't expect or require boundary breaking; it merely requires the use of knowledge and skills in new situations.

For example, when addressing the problem of slow elevators in tall buildings, an expert (and expensive) solution might involve understanding the mechanisms that move the cars to improve their efficiency. But by breaking the boundaries of the problem and seeing it not as an engineering problem but rather as a perception problem, we might come up with the solution of installing mirrors outside the elevators. People tend to be distracted by their own reflections and, as a result, may not even notice how long they have to wait for the car to arrive.

Creativity, at its core, pushes against the edges of the known and bursts open new perspectives, shifting the sense of what is possible or even real. I am reminded of the creative legacies of Paulo Freire (1996, 2005) and bell hooks (1994), who envisioned transforming education's role to a trangressive intent: to oppose oppression and move toward liberation. Creativity makes new things and makes old things new—new problems, new solutions, new realities—things not conceived before. It is, as Perkins (1981) defined, "adaptive novelty."

In today's world of instantaneous global communication and change, the unknown is always showing up. Schools that aim to prepare students for that world educate students to respond wisely in the face of the unfamiliar and new.

Enter the Studio Habits of Mind

Although the arts are in no way the sole repository of creative practices, they are a rich archive of all four categories of creativity—processes, persons, places, and products—that can be mined to educate for creativity in any subject area. My research with colleagues from Project Zero (Hetland, Winner, Veenema, & Sheridan, 2007) produced a representation of the artistic mind that we call the Studio Habits of Mind. These eight studio habits that artists engage in are to (1) Develop Craft, (2) Engage and Persist, (3) Envision, (4) Express, (5) Observe, (6) Reflect, (7) Stretch and Explore, and (8) Understand Art Worlds. Artists and educators have used these eight habits across all disciplines, most recently in conjunction with the Common Core State Standards.1 

All the studio habits work together. For example, take Stretch and Explore, one of the habits most readily associated with creativity. We define Stretch and Explore as "learning to reach beyond one's capacities, to explore playfully without a preconceived plan, and to embrace the opportunity to learn from mistakes and accidents" (Hetland et al., 2007, p. 6). Combined with Develop Craft, for example, which focuses on learning to use tools and materials, Stretch and Explore highlights playful exploration of implements and mediums. When students combine this habit with Engage and Persist, they stretch to find work they're passionate about and novel ways to persist in its resolution.

Stretch and Explore: A Closer Look

To see how the lens of Studio Habits highlights creative practices—and to clarify what this would look like in the classroom—let's consider three elements of Stretch and Explore—play, learning from mistakes, and embracing opportunity and taking risks.

Play

Exploring playfully emphasizes the importance of learning experiences that encourage what may appear as oxymoronic—habitual divergent thinking. Building in low-stakes and low-judgment formats frees students to playfully explore by enabling them to have fun, wonder, follow feelings, improvise, and work from intuition.

The opening example of the history lesson drew on the playful element of Stretch and Explore by bringing unfamiliar materials into the history classroom (paints, colored pencils, food, baking equipment); removing some expected materials (books, desks); setting up a mystery or game with new rules ("I'll sharpen your pencil for you—but you have to stay in your place"; "The objects go together somehow"); and using open-ended directions ("Represent what you see").

It's easy to use play as a way to regenerate enthusiasm for inquiry in any subject with students of any age. I've seen kindergartners play with "how many ways" they can alter cardboard in an art class, high school students play with mirrors and lenses in "what if" scenarios in science classes, and middle school students role-play dialogues around the qualities of literary characters. In museums, too, I've seen people role-playing with a partner, with one speaking as the viewer of the work and the other speaking from the work's point of view. Playful! When we relax, we see novel possibilities to explore and develop.

Learning from Mistakes

Ask a student about making a mistake, and he or she is likely to look silently at the floor. Mistakes in school are viewed as shameful and to be avoided—people might think you're dumb.

But in the arts, mistakes have an entirely different role. First, artists know that mistakes are inevitable. How can people avoid error when they're pushing deliberately beyond what they know and can do? Second, mistakes are valuable. Reflecting on mistakes often leads to useful insights that signal what went wrong and that suggest a different, more effective, approach. For example, when drawing a face, a student might get the proportions wrong and then notice that when one side of the face is larger, the face appears to turn to the side. A mistake in representation then becomes a tool for modeling expression by using distortion deliberatively.

Finally, mistakes are a potential source of ideas for new projects and investigations. A mistake may expose unusual juxtapositions, surprising metaphors, or tacit knowledge. For instance, when making a collage, an artist noticed that a magazine photo of meat looked like the texture of wood. She then used images of food to construct a series of architectural interiors in collage that were puns about consumption.

In the apple crisp lesson, "mistakes" were the norm. Remember that student who drew a single apple? Or the one who focused on the pattern of the tablecloth? These works showed what each student saw and chose to draw from his or her perspective; a traditional drawing class might consider these representations as errors, as though the task were to accurately depict the entire arrangement. Some students worried about "not being able to draw," but when we shared the works, which were unfinished (further lowering the stakes), the students got to say what they were trying to do and point out places they felt good about and areas that "bugged them." Success wasn't about drawing—it was about gaining insight into history through an artistic game.

"Make 50 visual art mistakes": This is what John Crowe, a professor at the Massachusetts College of Art and Design, tells students to do in his studio course. This "50 losers" assignment gives students power over error and freedom to explore without worry. What happens? They play! After giving students plenty of time to follow that direction, Professor Crowe extends the challenge: "Now, elevate one of these mistakes to the level of art."

For example, when cutting wood imprecisely with various tools, an artist noticed how interesting the random chunks of wood were that had fallen to the floor. He combined selected scraps into a prototype for what became a line of beautiful table lamps in a rough, Japanese aesthetic. Students come to use error as opportunity; it gives them permission to explore broadly and without negative self-judgment.

Embracing Opportunity and Taking Risks

Combining play and the value of error leads to greater confidence in approaching problems without fear and taking the risks needed in the search for new ideas. Artists often embrace risk by setting up constraints on their skill, such as using brushes attached to three-foot dowels or mixing weeds or chunks of wood into their clay. This habit of building in chance and randomness emerges from a confidence that emphasizes serendipity and recognizes that previously developed skill may hold back exploration and that using only proven methods may limit opportunities. Artists know there's usually time to refine their work, so the risk isn't really dangerous. Taking a chance is safe when the work is held lightly, tossed about, investigated freely—and not seen as precious or fragile.

The apple crisp lesson used this element of Stretch and Explore by assigning the risk: It didn't matter what students could or couldn't do; they just had to take on the chance and represent what they saw. No, this work wasn't graded. Students had to engage and do something. Then we used the experience to learn from the effort.

Similarly, artists may spend hours on a drawing and then cut it up into parts that they reassemble as another work. Writing teachers may have students cut out descriptions of characters, objects, or settings from early drafts to combine in odd juxtapositions or metaphors that catalyze new insights.

It's also a risk to show work to peers or teachers, especially before it's completed. But public critique is common practice for artists. Mid-process critiques might ask others to describe what they see in the emerging work while the artist says nothing and takes notes to reflect on later. Ultimately, exhibiting a finished work to the public—to classmates, online, on a city street, in a gallery, on the radio, in a newspaper or publication—provides a sense of letting the work go to live its own life, separating the maker from the made and allowing a more objective appraisal of the work's quality. Such practices must not be limited to art classes.

The Ultimate Exploration

We turn, finally, to the idea of transgression. That's the ultimate exploration and stretch—to push past what we know to be quality, to be right or worthy, to trample those boundaries in search of new connections, possibilities, insights, and perspectives.

The apple crisp lesson modeled thinking outside the boundaries of what students thought of as history. It transgressed the discipline, but it wasn't a revolution—just a nudge beyond the expected. In contrast, the works of Paulo Friere and bell hooks lean toward a fundamental transformation of schooling as the mechanism for reforming society's inequities. So the transgression of creativity can be as simple as pushing the desks and chairs aside, having students draw in a history class, and suggesting that the textbook may not be the final word or that "truth" is not the goal of history, but rather an interpretation based on evidence. Or it can be as profound as turning education inside out.

Whichever tack toward transgression educators take, we need to help students recognize that what's now the rule was previously invented by other people and that they, the students, can begin to participate in the process of creation themselves, practicing how to shape their own destinies. And that's what an education for creativity is for—creating the creators who, from the present and past, make the future.

References

Blythe, T., & Associates. (1998). The teaching for understanding guide. San Francisco: Jossey-Bass.

Bruner, J. M. (2006). In search of pedagogy: Volume I. The selected works of Jerome S. Bruner. London: Routledge.

Freire, P. (1996). Pedagogy of the oppressed. New York: Penquin.

Freire, P. (2005). Education for critical consciousness. New York: Continuum.

Gardner, H., Csikszentmihalyi, M., & Damon, W. (2001). Good work: When excellence and ethics meet. New York: Basic Books.

Hetland, L., Winner, E., Veenema, S., & Sheridan, K. (2007). Studio thinking: The real benefits of visual arts education. New York: Teachers College Press.

hooks, b. (1994). Teaching to transgress: Education is the practice of freedom. New York: Routledge.

Kozbelt, A., Beghetto, R., & Runco, M. (2010). Theories of creativity. In J. C. Kaufman & R. J. Sternberg (Eds.), The Cambridge handbook of creativity (pp. 20–47). New York: Cambridge University Press.

Perkins, D. N. (1981). The mind's best work. Cambridge, MA: Harvard University Press.

Perkins, D. N., Jay, E., & Tishman, S. (1993). Beyond abilities: A dispositional theory of thinking. Merrill-Palmer Quarterly, 39(1), 1–21.

Tishman, S., Jay, E., & Perkins, D. N. (1993). Teaching thinking dispositions: From transmission to enculturation. Theory into Practice, 32(3), 147–153.

Wiske, M. S. (Ed.). (1998). Teaching for understanding: Linking research with practice. San Francisco: Jossey-Bass.


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Creativity makes new things and makes old things new—new problems, new solutions, new realities—things not conceived before. It is, as Perkins (1981) defined, "adaptive novelty."  -  */S.Y\  A Permanent Creativity give " Things of Perfection", the Application of They born Smart Transformation / New Understanding & Analytical Wisdom. This is New Level of Knowledge.
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Developing skills in written communication

Developing skills in written communication | A New Paradigm of Development | Scoop.it

“Ohe pen is mightier than the sword,” wrote a philosopher centuries back, emphasizing the power of written communication. The ability to communicate does not begin and end with mere oral communication. For an average man, communication is mostly limited to casual banter and fails to make foray into the written genre.

Yet, written communication could not be more relevant in today’s technology-driven and shrunken world. The real trouble arises when the pendulum swings to written communication. For unlike in oral communication, written communication demands formal language, conformity to recognised patterns and some level of proficiency in the rudiments of the language. The difficulties involved are deterrents to developing skills in written communication. Even so, getting the hang of effectively articulating thoughts and ideas  is a forte that can unlock the door to a world of greater understanding.

Writing most often does not get the prominence it ought to in a common man’s schedule. Learning and acquiring knowledge from volumes of tomes are limited to the profound subjects of math, science and social studies. Language and its many functions, including writing skills, thus pale in comparison to the importance of other subjects.


This bias acts as a deterrent in the development of effective writing. When writing thus is not given the due significance it deserves, this skill cannot be improved upon. Just as in any other art, with writing too, only practice can make a man perfect. Failure to hone skills in writing coupled with the general apathy, act as a huge gap in getting proficient in the art of written communication.

Again unlike other subjects, writing involves a creative bent. Creativity is often perceived as something that is reserved for a select few. Spending time in this creative area of writing is seldom exercised, resulting in the common man’s inertia to kick start his adventures into the realm of writing.

If all these factors are not reasons enough to procrastinate to dive into the world of words, new age communication is a stumbling block in excelling at the written language. SMS language, prevalence of short and laconic comments on social media, combined with the long forgotten art of writing letters and post cards through the snail mail, augment the discouraging scenario of poor progress in written communication.


Via Charles Tiayon
Sergey Yatsenko's insight:
Manifold are the benefits of learning to put in writing the many thought processes as they occur in our mind. Written communication is an exceptional tool available in mass media.  -  */S.Y\  Creative Reflection determine your Capacity for Rethinking with New Mindset.
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Charles Tiayon's curator insight, September 4, 2014 5:54 AM

“Ohe pen is mightier than the sword,” wrote a philosopher centuries back, emphasizing the power of written communication. The ability to communicate does not begin and end with mere oral communication. For an average man, communication is mostly limited to casual banter and fails to make foray into the written genre.

Yet, written communication could not be more relevant in today’s technology-driven and shrunken world. The real trouble arises when the pendulum swings to written communication. For unlike in oral communication, written communication demands formal language, conformity to recognised patterns and some level of proficiency in the rudiments of the language. The difficulties involved are deterrents to developing skills in written communication. Even so, getting the hang of effectively articulating thoughts and ideas  is a forte that can unlock the door to a world of greater understanding.

Writing most often does not get the prominence it ought to in a common man’s schedule. Learning and acquiring knowledge from volumes of tomes are limited to the profound subjects of math, science and social studies. Language and its many functions, including writing skills, thus pale in comparison to the importance of other subjects.


This bias acts as a deterrent in the development of effective writing. When writing thus is not given the due significance it deserves, this skill cannot be improved upon. Just as in any other art, with writing too, only practice can make a man perfect. Failure to hone skills in writing coupled with the general apathy, act as a huge gap in getting proficient in the art of written communication.

Again unlike other subjects, writing involves a creative bent. Creativity is often perceived as something that is reserved for a select few. Spending time in this creative area of writing is seldom exercised, resulting in the common man’s inertia to kick start his adventures into the realm of writing.

If all these factors are not reasons enough to procrastinate to dive into the world of words, new age communication is a stumbling block in excelling at the written language. SMS language, prevalence of short and laconic comments on social media, combined with the long forgotten art of writing letters and post cards through the snail mail, augment the discouraging scenario of poor progress in written communication.

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Assessing Creativity

February 2013 | Volume 70 | Number 5
Creativity Now! Pages 28-34

 

Assessing Creativity--Susan M. Brookhart

 

 

We can assess creativity—and, in the process, help students become more creative.

Fifth graders were busy writing acrostic poems on small posters. One girl wrote a school spirit poem, with the first letter of each line spelling out the school name: S for "super," N for "nice," and so on. She even drew a picture of a bobcat (pictures were not required) that was a spot-on replication of the school mascot. A boy wrote an acrostic poem with the first letter of each line spelling out his name: A for "agressive" (unfortunately spelled incorrectly); N for "nutty"; and so on. No picture.

So what kind of feedback did the teacher give? Her comments gave students the impression that the girl's poem was perfect and that the boy's poem was not so good, mostly because of that one misspelled word and the fact that his lines sloped downward on the poster.

This assignment was a giant missed opportunity for both students. The girl's work was a skillful replication of things she'd seen before. All the words were simple, the school spirit theme was a common one, and the point of her drawing was to duplicate the school mascot. She needed to know that her work was proficient—but she also needed to be challenged to work with more originality when writing poems. She only received half that feedback.

The boy's work was more original. Although the poem was only five lines long, it gave readers a real sense of who he was—or, at least, how he saw himself. He needed to know that he had used a prescribed format creatively—but he also needed to be challenged to check his spelling and use a ruler to make straight lines of text on posters. He, too, only received half that feedback.

What was missing in the teacher's feedback is easy to diagnose—her criteria for success were too limited—but it's harder to put right. Can creativity be an assessment category? If so, how do you handle it? Surely you wouldn't downgrade the girl's perfectly good poem, beautifully and dutifully written and presented.

Here's how to assess and give feedback about creativity and, in the process, help students become more creative in their work.

What Is Creativity?

Creativity is a simple concept that can be difficult to get your head around. In its most basic sense, creative means "original and of high quality" (Perkins, 1981, p. 6). The girl's school spirit poem was of high quality, but it was workmanlike and derivative. The boy's self-analysis poem was original, and the poetic composition and word choice were fine; he just needed to attend to the quality of the mechanics. Of course, a poem that is uninterpretable or meaningless, no matter how original, can't be creative.

What does it look like when schoolwork is original and of high quality? Probably the foremost characteristic of creative students is that they put things together in new ways (Brookhart, 2010). For example, while writing a poem about a sunset, a student who observes that moment when the sunset looks very much like a sunrise and makes the connection to other endings that can also foreshadow beginnings is more creative than a student who describes that moment as "red and fiery."

Students who are able to put things together in new ways can observe things others might miss, construct more novel products, give more novel performances, use more unusual or unconventional imagery to make points, observe ordinary things and find in them an area to wonder about or a problem to solve, and the like.

Not all schoolwork, even performance assessments, supports this sort of thinking. Before you can assess creativity, you need to make sure that the tasks you set for students are conducive to creativity.

Stimulating Creative Thinking

Myriad opportunities for fostering creativity are right under our noses in school, because learning is a generative act. However, what's missing in many classrooms is deliberately noticing and naming opportunities for creativity when they occur, giving feedback on the creative process, and teaching students that creativity is a valued quality.

Brainstorming in any subject can be a creative activity. Elementary teachers who ask students to begin the writing process with a graphic organizer, list, or outline can give feedback on the originality of the ideas as well as their suitability for the writing assignment. For example, an elementary teacher might ask students to list several farm animals, imagine a funny situation that might happen to each, and then pick one animal and write a story about it.

Science teachers who have students brainstorm a list of hypotheses to test can give feedback on the originality of ideas as well as their suitability for the experiment that the students will design. For example, a teacher might mention that her coffee cools too quickly in the cup and then ask students to brainstorm a list of things that might slow down the cooling process, write a hypothesis about each one, and design an experiment to test one hypothesis.

Assignments that require students to produce new ideas or reorganize existing ideas in a new way are likely to foster student creativity. In mathematics, asking students to identify a problem for which multiplication would be useful in finding the solution requires more creativity from them than giving students a multiplication word problem to solve. Similarly, in music, an assignment in which students write an original melody requires more creativity than one in which they analyze a preexisting melody.

Assignments that require students to put two things together are also likely to promote creativity. For example, in English language arts, asking students to write or speak about how The Adventures of Tom Sawyer would have been different had Huckleberry Finn been the main character sparks more creativity than asking students to discuss the character of Tom Sawyer. In social studies, asking students how the events that led up to World War I might be handled if they happened today fosters more creativity than asking students to discuss the causes of World War I.

Students will still exhibit a range of originality and quality in their work, even in response to these more creative prompts. Teachers can give feedback on both of these aspects of the work.

Sometimes teachers and students think that any assignment that allows student choice is conducive to creativity. Although that may be true in general, only assignments that allow student choice in matters related to what the student is supposed to learn develop student creativity in the area under study. For example, if you ask students to compare characters in two novels and allow them to choose the characters or novels, they have the opportunity to develop creativity in their approach to literary criticism. However, if you ask students to compare two specified characters and just give them choices about whether they want to write an essay, give a speech, or write a song, students will not have that opportunity.

Criteria for Creativity

Creativity is not a synonym for clever, humorous, artistically pleasing, enthusiastic, or persuasive. Those are all great qualities that we can assess in their own right, but we shouldn't confuse them with creativity. As early childhood educator Lilian Katz once railed, "Creativity is not animals with long eyelashes!"

Rather, criteria for creativity should match what we expect in creative work: originality and high quality. Creative students

Recognize the importance of a deep knowledge base and continually work to learn new things.Are open to new ideas and actively seek them out.Find source material in a wide variety of media, people, and events.Organize and reorganize ideas into different categories or combinations and then evaluate whether the results are interesting, new, or helpful.Use trial and error when they are unsure how to proceed, viewing failure as an opportunity to learn. (Brookhart, 2010, pp. 128–129)

 

The first four characteristics lead to qualities in the work that we can observe, assess, and provide feedback on. For example, are the source materials varied? Are ideas organized in a fresh way and uniquely suited to the problem or product? The last characteristic—using trial and error—is about the student's approach to learning and may or may not show itself in the finished work.

A Rubric for Creativity

If all of these first four characteristics are in play in an assignment, then a rubric like the one in Figure 1 (p. 31) may support teachers and students in assessing creativity (Brookhart, 2013). The rubric describes four levels of creativity—very creative, creative, ordinary/routine, and imitative—in four different areas—variety of ideas, variety of sources, novelty of idea combinations, and novelty of communication.

Read more: http://www.ascd.org/publications/educational-leadership/feb13/vol70/num05/Assessing-Creativity.aspx


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The Role of Social Media & Thought Leadership in the Shifting
Healthcare Industry

The Role of Social Media & Thought Leadership in the Shifting<br/>Healthcare Industry | A New Paradigm of Development | Scoop.it

“The greatest threats in healthcare are not competitive. They are consumer driven.”

—John Crowley, VP of Sales Operations, Cardinal Health

In the past decade, the healthcare industry has seen more disruption to the classic sales cycle than almost any other. Quantified health, up-to-the-minute fitness tracking, personalized medicine, and customized care have changed the way we talk about healthcare—and more than ever, consumers are driving sales in the industry.

The Current State of Social Media in Healthcare

In an age where there’s an app for everything, it was only a matter of time before on demand diagnostic apps like Pager, major social media platforms like Twitter and Facebook, online forums, and interactive communities moved into the healthcare industry. Medical information has been at consumers’ fingertips since WebMD first launched its symptom diagnosis page 20 years ago in 1996. The proliferation of access—and expectation—to that healthcare data is only increasing.

Medical apps track our sleep, heart rate, step count, calories, stress, and blood pressure—but more importantly they share this data with doctors and social media circles. Mashable reports that every day, people are having sensitive healthcare discussions on social media, and important diagnostic decisions are being made by leaders in this field based on this engagement.

The Social Shift in Power

This fundamental shift from private, closely held medical information moving from the doctor to the patient is being replaced by open discussions about health—and more importantly treatment options and recommendations—via social media.

Cardinal Health VP of Sales, John Crowley shares that “the power has shifted away from the physician and toward the health system and payer. These institutions and their buying committees are online, social and researching your products."

Healthcare’s Social Media Early Adopters

In 2012, roughly 1 in 5 people had at least one health app on their phones. In 2016 that number is closer to 60%, but nearly 90% of 18-24 year olds (typical early adopters), report that they would “trust medical information shared by others on their social media networks.” These same 18-24 year olds are more than twice as likely than 45-54 year olds to engage in healthcare discussions via social media.

Crowley sums up what this mass migration to social media means for sales teams that are slow to adapt:

“Patients today are digitally driven, socially connected and mobile. In order to stay relevant, healthcare companies must evolve to connect with patients and caregivers where they want to meet—online, socially and in real time. Companies that figure out how to do this or facilitate it for other healthcare companies will win in the technology age.”

So, if consumers clearly expect healthcare companies and providers to engage with them, why are so many healthcare sales reps ignoring the benefits of social?

The Challenges of Social Media Adoption in Healthcare

The biggest obstacle to implementing social media engagement among healthcare sales reps is the perceived lack of adoption—not by consumers, but by doctors. A recent poll from MedTech Media shows that only 31% of healthcare professionals use social media for professional use (like networking), and while this could certainly be higher, the number of healthcare professionals using social media is on the rise.

Today more than 99.4% of hospitals in the US have an active social media account. Over half (50.4%) have accounts on at least four different sites. That’s a dramatic spike in engagement, up from just 26% of hospitals with social media accounts in 2012. So if consumers and healthcare professionals are using social, what’s stopping healthcare sales teams?

One study from the Journal of Medical Internet Research says it best:

“This dramatic increase in social media use may show the increasing value of social media to hospitals to potentially improve market share, engage with patients, increase profitability, or advance their missions in health and healthcare.”

Social Media: Healthcare’s Exciting New Frontier

Increased market share, engagement, and profitability are all right there at your fingertips. Crowley however warns that while the sales benefits of social media are clear, “the modern healthcare sales professional must evolve to use social media as a tool for networking, self-improvement and thought leadership. Note I didn’t say ‘selling.’ Social is a tool for engaging and curating—never selling in healthcare.”

Consumers are starved for valuable, shareable health-related content and healthcare professionals are looking for ways to become thought leaders in their field. There’s never been a better time to become an influencer in the healthcare industry. Embrace social media as a healthcare sales professional and harness the exponential growth of this rapidly changing field.


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Megatrends in MOOCs: #11 Alternative Credentials

Megatrends in MOOCs: #11 Alternative Credentials | A New Paradigm of Development | Scoop.it

New forms of education require new types of credentials. But what does it mean when job applicants put digital badges on their resumes or when an employee earns a verified certificate from a free online course? One of the biggest opportunities for MOOCs and other digital learning environments has been in the development of alternative credentials, which may turn out to be even better than traditional degrees at highlighting one’s knowledge and skills.


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Alternative credentials will become much more prevalent in the near future as students, companies, and schools seek new ways to validate learning in these new digital environments.  -  */S.Y\  Transformation of Thought Leader give New Understanding & Analytical Wisdom and the Evolution on Content.
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When creativity becomes content

When creativity becomes content | A New Paradigm of Development | Scoop.it
In adland's binary world 'magicians' see creativity whilst 'mathematicians' see content. It's time to get them together again, writes David Brennan, founder of Media Native.
I attended my first Ad Week Europe last week and I was pleasantly surprised (apart from the queuing system, which made some of London Transport's recent travails seem like a walk in the park). I witnessed some high quality debate, a real sense of the unfolding opportunities digital convergence is creating and - most of all - a sense of celebration of the best our industry has to offer.
Most of our working lives we find ourselves on the back foot; defending a position or responding to the latest disruption that is threatening to replace our existing business model. So, it is a rare, uplifting feeling - reinforced by the unexpected springtime weather - to see the best of our industry in action.
We produce some really good stuff. We should never forget that. I've been working in advertising and media since before 'New Romantic' meant anything other than a bunch of 18th century poets, and it amazes me how much talent, innovation, big-picture thinking and creativity we produce, even as we rock from one technological disruption to the next.
Creativity, most of all.
Ad Week Europe was a great showcase for creativity. Excellent ideas, based on universal themes, communicated in powerful ways which resonate way beyond their point of impact. The standing room-only Creative Carousel - hosted by Lindsay Clay - was a joy to attend, but this focus on creativity - and its manifestations through music, vlogging, film, gaming, journalism and just about any other channels you can think of - was a strand running through much of the week.
I thought most of the media represented at Ad Week Europe - both legacy and digital media - stated their case for a meaningful role in this fast-evolving landscape really well, and most of them addressed their unique ability to deliver an audience, environment or context within which the best creativity could land, thrive and linger. In which it could resonate.
But then there were the other bits. 'Programmatic 101'. 'The War on Ad Fraud'. 'How Will Programmatic Change The TV Landscape?'. 'Decoding Programmatic'. 'Advertising Automation: Into The Looking Glass'. 'Programmatic - Problem or Panacea?'
Are you seeing a pattern emerging there?
There were a few sessions that brought these worlds together, but to be honest they were mainly inhabiting different universes, and nowhere was this more so than in their differing perceptions of how this great industry of ours is powered. In this (still) binary world of the magic and the math(s), the magicians see 'creativity' and the mathematicians see 'content'.
There is no doubting digital's huge and (generally) positive influence on both our personal and professional lives, but I've always believed it will struggle to reach its full potential until it understands the power of the magic over the maths.
This disconnect can be seen in those two little words; content and creativity. Based on nothing more scientific than my failing memory, the term 'content' was used far more frequently in the latter sessions, whereas 'creativity' far more in the former.
There is nothing inherently wrong with that, but reducing the ephemeral, mercurial, unpredictable nature of great creativity, to sort of commoditise it all into this murky gloop we define as 'content' tends to undermine its performance.
'Content' is a form of commoditisation. It assumes all exposures to whatever content has equal value. It assumes the variations between great and awful 'content' can somehow be built into the relevant algorithms and analytics.
It assumes it is easy to produce and personalise; one of the false premises of addressability is that "It is possible to have a different ad for every household ". It assumes (quite rightly) that anybody can produce 'content' and (quite wrongly) that it will automatically have a value. Most analysis of 'content' rarely values or even measures the impact of the surrounding context.
Seeing creativity as merely content helps to feed the hype around programmatic trading, addressability, native content, online display, social media and UGC, to name but a few.
When I raised this dissonance between the maths and the magic at a session on the relationship between branded content and film, panellist Adrian Pettit from Cake (who, I have to admit, came up with the maths vs. magic analogy in the first place) summed up the debate in relation to branded content when he stated the magic will always drive the process - and the performance; the maths is there to work it as hard as possible.
If this is the case, I would like to see more evidence from the mathematicians about how they can add potency to the magic fairy dust, as well as making it sprinkle further and for longer. I would like to see them talking the language of creativity more, attempting to factor in its complexities and nuances more sensitively.
Because, ironically, maths and magic go back a long way. We simply need them to get back together again.

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Creativity, most of all. -  */S.Y\ A Permanent Creativity is the Best Quality for Leader with New Opportunities for Business. A Multi - Level Creativity is new KIND of TRUST.
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Social responsibility, global development, and the future of learning.

Social responsibility, global development, and the future of learning. | A New Paradigm of Development | Scoop.it
The future of education and international development: Egon Zehnder brought together Save the Children Chief Executive Jasmine Whitbread and educational scientist Sugata Mitra to talk about the need to develop a new paradigm for global development – one that puts a premium on sharing knowledge, building partnerships, and collaboration across sectors.

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“In our current system of education, the assumption is that teaching leads to learning. But there is a different way. If you allow groups of children to self-organise, then the learning emerges naturally on its own.” - Sugata Mitra                                 */S.Y\ The Evolution of Leader . A Permanent Creativity give " Things of Perfection", the Application of They born Smart Transformation / New Understanding & Analytical Wisdom. This is New Level of Knowledge /.
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Γιώργος Παπαναστασίου's curator insight, November 16, 2014 9:11 AM

Sugata Mitra: A good curriculum is one that is changing every single day – not once every five years, as it does now in much of the developed world.


Jasmine Whitebread: Education is one of the areas where huge change is possible in the next few years. 

Dennis Swender's curator insight, November 17, 2014 3:23 AM

The last two chapters of Banks brings additional insight to global identity awareness.

tom cockburn's curator insight, December 24, 2014 6:22 AM

Going beyond the limits of current models of capitalism for sustainability gains seems sensible

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What Can Digital Transformation Do For You? - DevOps.com

What Can Digital Transformation Do For You? - DevOps.com | A New Paradigm of Development | Scoop.it
Contrary to what the massive articles around digital transformation suggest, your business lines’ primary concern isn’t the amazing technology innovations that pop up every day but how well they’re going to deal with your industry’s disruption. Something is sure, your IT organization’s digital transformation cannot be narrowed to technology changes; that’s a simplistic vision which ignores the disruptive impacts …
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*/S.Y\ My Topic / A New Paradigm of Development / has leveled up to Silver. This is Real Digital Transformation.  -  New Media Symbiosis. This is the Positive Effect of Interaction in Social Media / Facebook, Twitter, Scoop.it, LinkedIn, About me, SlideShare, Viadeo, .../.  I see the Growth of My Community on Scoop.it - 615 .
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How to Build a Culture of Originality

How to Build a Culture of Originality | A New Paradigm of Development | Scoop.it
Anyone can innovate if given the opportunity and the support.

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How to Build a Culture of Originality. - */S.Y\ Power Score is a Fuction of Your Permanent Creativity . Culture of Originality as a Function of Permanent Creativity .
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donhornsby's curator insight, February 29, 2016 4:03 PM

(From the article): When everyone thinks in similar ways and sticks to dominant norms, businesses are doomed to stagnate. To fight that inertia and drive innovation and change effectively, leaders need sustained original thinking in their organizations. They get it by building a culture of nonconformity, as Kohlmann did in the navy. I’ve been studying this for the better part of a decade, and it turns out to be less difficult than I expected.


For starters, leaders must give employees opportunities and incentives to generate—and keep generating—new ideas, so that people across functions and roles get better at pushing past the obvious. However, it’s also critical to have the right people vetting those ideas. That part of the process should be much less democratic and more meritocratic, because some votes are simply more meaningful than others. And finally, to continue generating and selecting smart ideas over time, organizations need to strike a balance between cultural cohesion and creative dissent.

Martin McGaha's curator insight, March 15, 2016 5:34 AM

(From the article): When everyone thinks in similar ways and sticks to dominant norms, businesses are doomed to stagnate. To fight that inertia and drive innovation and change effectively, leaders need sustained original thinking in their organizations. They get it by building a culture of nonconformity, as Kohlmann did in the navy. I’ve been studying this for the better part of a decade, and it turns out to be less difficult than I expected.


For starters, leaders must give employees opportunities and incentives to generate—and keep generating—new ideas, so that people across functions and roles get better at pushing past the obvious. However, it’s also critical to have the right people vetting those ideas. That part of the process should be much less democratic and more meritocratic, because some votes are simply more meaningful than others. And finally, to continue generating and selecting smart ideas over time, organizations need to strike a balance between cultural cohesion and creative dissent.

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Switzerland: a pirate’s paradise? - SWI swissinfo.ch

Switzerland: a pirate’s paradise? - SWI swissinfo.ch | A New Paradigm of Development | Scoop.it
Switzerland's relatively lenient laws on downloading copyrighted material have resulted in it being placed on a US blacklist.
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Creativity and the Pursuit of Excellence

Creativity and the Pursuit of Excellence | A New Paradigm of Development | Scoop.it
In this lecture we investigate Richard Taylor's idea, building on the thought of Aristotle, that personal excellence is best attained through the cultivation of one's capacity for creativity.

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4 Archetypes of Top Social Media Influencers

4 Archetypes of Top Social Media Influencers | A New Paradigm of Development | Scoop.it
Did you ever wonder what traits are associated with the top influencers in your industry? An examination of the top social media influencers led to the following 4 archetypes.  Attributes of Social...

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Ivon Prefontaine's curator insight, February 11, 2015 4:32 PM

This is an interesting article which will take some reading and re-reading to think about what the message is.

 

@ivon_ehd1

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How Thinking Like A Lawyer Made Me A Better Entrepreneur - Forbes

How Thinking Like A Lawyer Made Me A Better Entrepreneur - Forbes | A New Paradigm of Development | Scoop.it
Lawyers, more so than MBAs, are taught how to think about problems in a way that anticipates both risk and change.

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My law school training has helped me develop an entrepreneurial mindset. I’m able to understand how my business needs to grow and what barriers might creep up.  -*/S.Y\  Creative Reflection determine your Capacity for Rethinking with New Mindset.
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Thinking outside the creative paradigm | The Media Online

Thinking outside the creative paradigm | The Media Online | A New Paradigm of Development | Scoop.it

In 2010 the International IBM CEO survey came out with a surprise finding;it found creativity was the number one characteristic that businesses looked for in their leadership teams. That’s a big deal. As the ad industry we get excited quickly, but hold your horses! It’s not the same as putting our 20-something trained creatives at the front of the pitch. 

Creativity in the future of marketing and advertising is a far more intelligent form of creativity. If I had to let our industry down for a moment with one comment it would be this: our level of creativity is myopically focused on communication, and specific communication channels that we are ‘ok’ with. We’re ok with TV, press, and radio. We’re ok with design as communication, and very recently we became ok with digital platforms.

But are we ok with creativity for new business directions, expanded product offerings, and accessing data to uncover deep customer insights that lead to innovation? Are we ok with creativity for technology, creativity for HR, creativity for leadership matters, creativity for biofeuls? 

These latter forms of creativity need one thing that we are so reticent to do. They need us to think outside of our paradigms. Creative people don’t like to think outside of their creative boxes! That may sound like a contradiction in terms but it’s so real. I’ve worked with enough highly talented creative people over 20 years to know they can be brilliantly creative within their areas of communication expertise, and miserably uncreative when pushed outside of them.

So here’s the kicker: can our highly gifted creative people in the ad industry stretch their ability into new realms, because this is what business needs today and in the future?

Let’s call it multi-industry creativity. I believe the ad industry has the best grouping of employees to solve some of businesses biggest challenges, if only we are bold enough to tackle them, smart enough to learn again, resilient enough to push through our boundaries, and crazy enough to maybe, just maybe, tackle the forefront of where our 21st century marketplace is headed.

Strategically-led companies

Since the beginning of time (ok, just the ad industry timeline) our types of companies have been led by creative minds. Actually let me qualify that a little – I think there have been very insightful, even strategic, thinkers in all the most successful companies since the ’60s but they have never been referred to by any other classification except creative. So we have not had highly prized strategists until five or so years ago. 

The result of the past 40-50 years is that agencies and advertising as an industry have been creative-led. Creativity and creative awards are the heros in our companies. But here is the change heading into the next 40 years: we will see more and more strategic-led agencies and eventually we will start to breed strategists who love and value creativity. At the moment there is still a rub between strategists and creatives, which is a natural thing because a generation of strategists have not emerged who have worked long enough in creative environments to tune themselves into how creatives ‘work’.

So creatives do not really value strategists (I am generalising to make the point clear) but its true in most cases.

The demand for trained strategists will cause a new breed of agency person to emerge, not only in the rank and file, but at leadership levels. CEO’s who are strategy-led will in turn shift our entire industry towards this. These future-orientated advertising agencies will be known by another name. They will come out the ad industry, but they will rename this industry – to the alarm of the creatives.

What will these new companies be called, and what will our industry eventually become known as? I doubt it will be called the strat industry, but surely new names and titles will come to the fore that will add value to the global marketplace and breathe life into diverse companies and certainly…way beyond communication.


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Let’s call it multi-industry creativity. I believe the ad industry has the best grouping of employees to solve some of businesses biggest challenges, if only we are bold enough to tackle them, smart enough to learn again, resilient enough to push through our boundaries, and crazy enough to maybe, just maybe, tackle the forefront of where our 21st century marketplace is headed.  -*/S.Y\  A Multi - Level Creativity is new KIND of TRUST.  Power up your Thinking with a Permanent Creativity .
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Charles Tiayon's curator insight, May 23, 2014 11:28 PM

In 2010 the International IBM CEO survey came out with a surprise finding;it found creativity was the number one characteristic that businesses looked for in their leadership teams. That’s a big deal. As the ad industry we get excited quickly, but hold your horses! It’s not the same as putting our 20-something trained creatives at the front of the pitch. 

Creativity in the future of marketing and advertising is a far more intelligent form of creativity. If I had to let our industry down for a moment with one comment it would be this: our level of creativity is myopically focused on communication, and specific communication channels that we are ‘ok’ with. We’re ok with TV, press, and radio. We’re ok with design as communication, and very recently we became ok with digital platforms.

But are we ok with creativity for new business directions, expanded product offerings, and accessing data to uncover deep customer insights that lead to innovation? Are we ok with creativity for technology, creativity for HR, creativity for leadership matters, creativity for biofeuls? 

These latter forms of creativity need one thing that we are so reticent to do. They need us to think outside of our paradigms. Creative people don’t like to think outside of their creative boxes! That may sound like a contradiction in terms but it’s so real. I’ve worked with enough highly talented creative people over 20 years to know they can be brilliantly creative within their areas of communication expertise, and miserably uncreative when pushed outside of them.

So here’s the kicker: can our highly gifted creative people in the ad industry stretch their ability into new realms, because this is what business needs today and in the future?

Let’s call it multi-industry creativity. I believe the ad industry has the best grouping of employees to solve some of businesses biggest challenges, if only we are bold enough to tackle them, smart enough to learn again, resilient enough to push through our boundaries, and crazy enough to maybe, just maybe, tackle the forefront of where our 21st century marketplace is headed.

Strategically-led companies

Since the beginning of time (ok, just the ad industry timeline) our types of companies have been led by creative minds. Actually let me qualify that a little – I think there have been very insightful, even strategic, thinkers in all the most successful companies since the ’60s but they have never been referred to by any other classification except creative. So we have not had highly prized strategists until five or so years ago. 

The result of the past 40-50 years is that agencies and advertising as an industry have been creative-led. Creativity and creative awards are the heros in our companies. But here is the change heading into the next 40 years: we will see more and more strategic-led agencies and eventually we will start to breed strategists who love and value creativity. At the moment there is still a rub between strategists and creatives, which is a natural thing because a generation of strategists have not emerged who have worked long enough in creative environments to tune themselves into how creatives ‘work’.

So creatives do not really value strategists (I am generalising to make the point clear) but its true in most cases.

The demand for trained strategists will cause a new breed of agency person to emerge, not only in the rank and file, but at leadership levels. CEO’s who are strategy-led will in turn shift our entire industry towards this. These future-orientated advertising agencies will be known by another name. They will come out the ad industry, but they will rename this industry – to the alarm of the creatives.

What will these new companies be called, and what will our industry eventually become known as? I doubt it will be called the strat industry, but surely new names and titles will come to the fore that will add value to the global marketplace and breathe life into diverse companies and certainly…way beyond communication.

Rescooped by Sergey Yatsenko from What I Wish I Had Known
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Five Questions on Creativity for … Todd Henry

Five Questions on Creativity for … Todd Henry | A New Paradigm of Development | Scoop.it

Consultant and author Todd Henry understands what it takes to “create-on-demand” in today’s fast-paced work environment. The founder and CEO of Accidental Creative, a consultancy that helps people and teams generate brilliant ideas, Henry is an expert on the dynamics of organizational creativity. He also develops insights on how individuals can unlock ideas and establish a personal rhythm that sustains creativity.


Via Anita
Sergey Yatsenko's insight:
When we develop our capacity to be creative using tools under the FRESH umbrella, we position ourselves to be able to respond when we need a new idea.  -  */S.Y\  Smart Tips. Many Faces of Constructivism. Look the Mirror of Thought Leader. You can Much Creativity on Demand.
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What is the Quantified Self Now?

What is the Quantified Self Now? | A New Paradigm of Development | Scoop.it
We're happy to post this wonderful essay by the thoughtful QS participant and scholar, Whitney Erin Boesel.

Via Ana Cristina Pratas
Sergey Yatsenko's insight:
I argue that Quantified Self’s most central object of concern has slowly shifted from the tools people use to track, to the data those tools and other self-tracking practices generate, to self-tracking practices as meaningful ends onto themselves, to developing “reflective capacities” ...  -  */S.Y\ Creative Reflection determine your Capacity for Rethinking with New Mindset.
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The definitive SEO audit: Content and on-site

The definitive SEO audit: Content and on-site | A New Paradigm of Development | Scoop.it
'Every situation is unique. This outline of the elements of a content and onsite SEO audit discusses the common first points I look at with unpenalized sites hoping to increase their traffic. If you have a penalty or other serious issues, this list is not exhaustive and will not cover all the areas you will need to research or methods to employ. 

Last month, I started my three-part series on conducting an SEO audit on your website. The purpose of auditing your site regularly is to ensure that you’re not only protecting yourself against penalties or technical oversights, but that you’re taking full advantage of the content you’re providing (from an organic SEO standpoint in this context) and that you’re “forcing” yourself to keep updated on shifts in users and terms as well as changes in the overall algorithms'.


Via Antonino Militello, massimo facchinetti
Sergey Yatsenko's insight:
The definitive SEO audit: Content and on-site.  -  */S.Y\ Original Content from Thought Leader is Best Basic Function for SEO Audit.
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The emerging Darwinian approach to analytics and augmented intelligence

The emerging Darwinian approach to analytics and augmented intelligence | A New Paradigm of Development | Scoop.it
Much has been made about the business implications of recent, rapid advancements in cognitive computing -- that is, the possibility of advanced analytics..
Via Riaz Khan
Sergey Yatsenko's insight:
Predictive analytics networks help data scientists crowdsource the best algorithms that, when checked in real time, can help reduce billions of events to the few that matter.  -  */S.Y\ Transformation of Thought Leader give New Understanding & Analytical Wisdom.
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Kris Kristofferson Songs Honored During All-Star Concert

Kris Kristofferson Songs Honored During All-Star Concert | A New Paradigm of Development | Scoop.it
An all-star lineup gathered in Nashville on Wednesday night (March 16) to pay tribute to Kris Kristofferson.
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Sergey Yatsenko's insight:
All-Star of  Best Mind  for the Future .
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WHICH IS THE BEST LANGUAGE TO LEARN?

WHICH IS THE BEST LANGUAGE TO LEARN? | A New Paradigm of Development | Scoop.it
Once a mark of the cultured, language-learning is in retreat among English speakers. It’s never too late, but where to start? Robert Lane Greene launches our Big Question

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WHICH IS THE BEST LANGUAGE TO LEARN? - */S.Y\ The Best Language is the  Language of Innovation. Courage is the Positive Result of Your Creative Ability.
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Authentic Leadership Is The Key To Innovation

Authentic Leadership Is The Key To Innovation | A New Paradigm of Development | Scoop.it
When it comes to creating an innovative culture, nothing takes the place of strong, authentic leadership.

Via Kenneth Mikkelsen, Ivan Ang
Sergey Yatsenko's insight:
"To me, courage is seeking out the broadest environment that you can influence.” Denise Karkos .  -   The transformation will come from leadership. W. Edwards Deming .   -  */S.Y\   Leadership's Secret is Find New Paradigm for Development.
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Kenneth Mikkelsen's curator insight, July 8, 2013 4:14 PM

Innovation is a product of systems. 

Systems are an emergent factor of leadership. 

Therefore, leadership drives innovation.