Following this consideration, if value is associated with use and context, the focus necessarily shifts from the units of output to the interactions. A service, therefore, represents “the process of doing something beneficial for and in conjunction with some entity, rather than units of outputs – immaterial goods- as implied by the plural ‘services’” (Vargo & Lush 2008, p.
The value of the intangible over the tangible. It is interesting to think of how there is a shift from the value of the goods to the value of the interactions mediated through goods and channels. It encourages a more human lens for which businesses can evaluate what exactly they are providing to their customers and how.
I am at my most productive when I am walking.
Yes, that sounds strange. Thoughts are clearer when I am walking. That is why I stopped taking the subway to work in the morning to work and in the evening from work. Instead, I walk both ways.
There is nothing inspiring about the inside of a NYC subway car in the morning. No matter how many little knick-knacks I put on my desk, it is never really an inspiring place and I am perpetually distracted by something else. Usually the Internet.
Walking there are no distractions; there is only inspiration. New York City is a very inspiring place simply because of its diversity and cultural shifts from neighborhood to neighborhood or even street to street.
The only other times I am as equally inspired are when I am reading. And then, the inspiration is more the analytical sort. The kind that makes you really think critically about what you work on and how you do it. At least for me. The worlds of marketing and design are where I spend most of my days and they are two worlds that are shifting dramatically.
Both emphasize and extol creativity, but there is not great formula or technique for creating a creative culture or organization. It is something that has to happen organically within the individuals or smaller groups. Creativity is not a mass activity. Sure, inspiration can be drawn from the larger group, but the creative process can be a very private one.
More on walking and thinking in the New Yorker: "Why Walking Helps Us Think"
It all stems from one basic problem, which is that innovative ideas are roughly indistinguishable from dumb ideas.
Let that sink in. Innovative ideas look just like dumb ideas.
If something seems like a clearly good idea, it is also an obvious idea. So everyone is doing it! The big ideas that fundamentally change the status quo usually have fatal-seeming flaws that keep (almost) everyone from pursuing them: It’s impossible. It’s in poor taste. No one would want it. You can’t make money doing it. It’s too expensive to build.
Innovation requires a leap of faith that you are right and everyone else is wrong."
Create order, don’t add to the chaos.
What is needed is a more intelligent, considered view of the opportunities that Big Data represents. It certainly provides a granular record of human behaviour that is historically unprecedented. Hans Eysenck, one of the early pioneers of psychology generated his famous personality theory by studying soldiers in WWII who were being treated at the hospital where he worked as a staff psychologist. Just think what he could have done with the material available from our digital traces.
But the desire for ‘solutionism’ runs deep and is perpetuated by many technology providers who are proffering solutions to augment our inadequate capabilities. Take the current rash of wearable technology that allows users to log thousands of photos of their lives every day. A great facility for market researchers of course but surely it’s questionable whether this adds or detracts from the experience of being human. Some things we would rather forget."
We are far too orientated on finding the solution that we do not really think about why that is the solution. Data is supposed to tell us why, not what.
Creativity in the workplace cannot be turned on and off. It can’t be effectively sequestered to a “design thinking room” or a “creative thinking room” (both of which we’ve seen way too often). It can’t be suddenly initiated by donut breakfasts, casual Fridays, or giving everyone iPads. It won’t survive if it’s just a one-off event like a make-a-thon weekend or an innovation workshop. Creativity is high maintenance.
Creativity is also like language. Fluency develops through practice, and it’s much easier when you’re immersed in the culture than if you pop in and out of it.
It’s a mindset of curiosity, exploration, and play that bleeds into all aspects of our business and community. It’s how designers can stay optimistic and confident in the face of ambiguous challenges."
The idea of creating a culture of creativity is somewhat preposterous to me. You cannot really manipulate culture; it has to evolve and form organically. You can however, make an effort to employ endlessly curious people. What I mean by curious is not people who want to read research reports and so on; I mean people who just want to learn something new everyday.
Ego is a big barrier to creativity and I think that Michael makes an excellent point here (without even saying it). He talks about staffing a diabetes project with designers, etc., who had no experience in healthcare. This eliminates any issue of ego, pre-conceived notions or ideas based around “I did this and that the last project and it was awesome, so let’s do it again here.”
No experience can be a beautiful thing; it forces us to be creative, to learn, to ask new questions, to see things in a different light. Experience can be the foil to creativity because the schemas created by past projects, experiences change the way we view the new challenge in front of us.
A culture of creativity is built around people who just want to learn. They don’t want the credit. They don’t want the by-line; they just want to try something new, ask questions, create something new and, in this case, ultimately solve a problem.