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Further mistakes I have made writing assignments and essays expressed as cartoon daisies

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 08:24

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I wrote one of these for an end of Module Assignment.

I got carried away with a single thesis. Not only did I stick to the topic, but I illustrated it. It was the image of a thermal on which career development was built. Problem was I hadn't given myself time to qualify my thinking, indeed, despite a heap of work I barely mentioned it (and barely got any marks). DSC00355.JPG

Here the essay has been bought online.

Sometimes it is easy to spot the pot. These days software does it for educational institutions.

 

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To the right or to the left; if the essay shows any political bias it is going to score less well.

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The essay that's going nowhere.

No idea, no essay plan, contemplates where it would like to go then reflects on where is would like to have been without saying very much at all.

 

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B822 Techniques Library: Visual Brainstorm

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Edited by Jonathan Vernon, Thursday, 5 Jun 2014, 05:24

 

The Perfect Essay(as described to me by my Geography A'Level Teacher, D.Rhodes, 1979)

After McKim, 1980.

Defer judgment. Don't be critical of others.

Aim for quantity. e.g. 30 thumb-nail sketches in 60 minutes

 PHASES

  • Idea Generation
  • Evaluation phase
  • Display your ideas
  • Offer constructive comment
  • Try different tactics
  • Compare sketches
  • Make written notes

How many of my early essays turned out.

REFERENCE

Adapted from McKim, R.H. (1980) Experiences in Visual Thinking, Belmont, C.A. PWS Publishers (Wadsworth Inc.) pp. 125-7

 

How many of my essays turned out even as an undergraduate: journalism. Heavy on the main idea but light on facts. 

 

No introduction, no conclusion. What a shame.

Skewed. How those with a political stance write.

Short, but beautifully formed. More of a blog post than an essay.

A bunch of ideas that show potential, though none of them are relevant to the question. Sounds like me. I do get distraced. I like variety.

The seasonal distraction. Could be Easter or Summer, Halloween or Guy Faulkes. Something in the news or on your mind. It has nothing to do with the assignment. With a TMA deadline and a job interview coinciding I re-wrote the TMA coming out of the interview and just scraped a pass. Enthusiastic, full of ideas but no referencing.

Anyone like to offer some more:

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B822 Techniques Library: Who are you?

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Edited by Jonathan Vernon, Tuesday, 10 Jan 2012, 07:33

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Performing as Dracula in the 'Dracula Spectacula' at the People's Theatre, Newcastle December 1979

Who are you?

Is the problem deeper than 'making things work better' ? Are there issues regarding your 'identity' or 'life strategy' ? (Techniques Library, 2010)

Who am I?

or from a team perspective 'who are we?'

Write as many answers as you can.

When you run out ... keep going.

Put down anything that occurs to you, play word association, until 'something emergers'.

Working with a partner

Sit opposte a partner and give each other five to fifteen minutes each before the other takes up the 'call'.

The listener does no more: no comments, nods, smiles, frowns, just attentive listening.

(Sounds like a form a therapy to me, whether cogntive behavioural therapy or even psychiatry).

The listener can review but DON'T GIVE ADVICE.

Life Review

St Ignatius Loyola suggested looking back on your life from your deathbed.

Imagine your infancy

Imagine being five

Imagine being:

  • 12
  • 25
  • 40
  • 65

Imagine being very, very old

Imagine your death

Imagine being reborn

Return

REFERENCE

Adapted from Vaughan, F.E. (1979) Awakening Intuition, New York, Anchor, pp. 1987-9

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B822 Techniques Library: Visualing a goal

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Edited by Jonathan Vernon, Monday, 9 Jan 2012, 19:57

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The power of your wish makes the wish come true.

From Gawain (1982)

1) Set your goal.

Start on something easy, achieve it, and develop confidence in the techniques.

2) Create a clear idea or picture

Think of it in the present tense as something that already exists

3) Focus on it often

Integrate it into your life by thinking about it often.

4) Give it positive energy

Use affirmations. Suspend any doubts or disbelief. (This sounds like Zen. Did Steve Jobs get any of this on his trips to India in the 1970s?)

5) Continue 'til you have achieved your goal

6) Appreciate it when you get there

REFERENCE

Adapted from: Gawain, S 91982) Creative Visualization, New York, Bantam Boks, pp. 16-18

 

 

 

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B822 Techniques Library: Using 'Crazy' Ideas

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Edited by Jonathan Vernon, Tuesday, 10 Jan 2012, 07:15

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Ken Dodd

Ideas that could get you fired if suggested or are lauigh out loud funny; so there's a risk. (Techniques Library 2010)

Developed by Rickards (1974) as 'Wildest Idea' and de Bono (1982) as 'Intermediate impossible'.

Why beneficial?

  • They break down assumptions.
  • The humour can energise a group and trigger more ideas (inlcuding some unthought of that might work)

Use these techniques:

  • Brainstroming
  • Free Association
  • Excusrsion

Treat it seriously to see where it takes you

Don't get stuck on a non-starter (but aren't they all implicitally a non-starter if they are going to get you fired or ar laughable?)

REFERENCE

Rickards, T. (1974) Problem-solving Through Creative Analysis, Essex, UK, Gower Press.

de Bono, E. (1982) Later Thinkking for Management, Pelican Books.

VanGundy, A.B. (1988) Techniques of Structured Problem Solving, 2nd ed. Van Nostranran Reinhold. Technique 4.61. p. 202


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B822 Techniques Library: Time Line

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Edited by Jonathan Vernon, Monday, 9 Jan 2012, 19:53

Mark out a Time Line and begin at the 'time' the problem began.

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Time Line Software

Developing a careers information video some years ago I did this exercise with 50 Youth Theatre students by placing out long lines of coloured discs on the floor. I bought these from a sports shop: I think they are used in P.E. Classes.

I could then help them go through periods of their life imagining where they would be and the steps, literally, that they'd have to take to achieve their goals.

This was in turn translated into a video production where we represented all young people (Year 9) with one character and had them move through time using the combination of a partially dismantled running machine and a green screen.

There's clip on YouTube (JJ27VV) Corporate Showreel

I agree that this approach makes it 'easier to get into a strongly 'associated' or 'merged' state'. That the idea is easy to grasp, not simply because we follow Dr Who or saw 'Back to the Future' or even read HGWells, but we all have, written or not, a personal journey that can be envisaged as a time line with a past, present and future: a beginning and an end.

We are told that this could be considered as a variant of other 'Neuro-linguistic Programming techniqes' 'aimed at helping you shift your perceptual position'. I don't see this yet but am referred to a technique I've thus far ignored called 'Disney technique'.

REFERENCE

James,T. and Woodsmall, W (1988) Time Line THerapy and the Basis of Personality. Capitola, Meta Publications INc.

Bodehamer, B.G. and Hall, L.M. (1997) Time-Lining: Patterns for Adventuring in 'Time', Bancyfelin, Anglo-American Book Company.

 

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B822 Techniques Library: Keeping a Dream Diary and Working with Dreams

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 08:08

Other people's dreams are a bore.

So don't read this unless you too are interested in using dreams or guided imagery to interpet and solve issues.

I woke with two dreams and lost one; they are after all like the proverbial 'fart in the wind': difficult to hold on to.

As I think about the dream I can recall I've decided it reveals too much about my character ... and is irrelevant to problem solving at work!

CONCLUSION

If you want to use a technique that is like chasing guinea-pigs around the garden do so. I'd keep it to yourself though or at least work with the insights offered rather than the content, feelings, images and actions of the dream itself.

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B822 Techniques Library: Keeping a Dream Diary and Working with Dreams

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 08:04

A dream in which people set value in 'winning' the right to be assessed only once they have undertaken a challenge or initiation in which they have to run into an 'arena' where a coach & horses (think Wild West) is speeding around the circuit and like a game of tag must stamp their fist/hand on the roof of the carriage.

For reasons unknown seemingly because it is the end of the 'season' (period, ers, term) or ere are no (or very few) people about (audience) as the driver of one of these carriages I can, and do slow right down.

To disavow you of the apparent risk or danger the pony and carriage might be somehing brought into the 'ring' (it was open air, dusty and improvised) by a clown or dwarf (though it wasn't) as, looking at it, you can reach its roof at shoulder height, in other words, this 'carriage' could only carry one person (such as a child) I may sit atop to 'drive', or lead it/run it around the circuit, even though it is carriage-like in look and behaviour I don't recall any horses or ponies, biut it is powered (electric car or internal combustion engine).

Having 'enrolled' or help or enable a number of people to achieve/ do this task and so 'join' or have this chance to be part of the 'scene/group/exercise or 'assessment' the suggestion is, to give a particular well-known 'somebody' a chance to 'register' for the first time. I should slow right - might even come to a stop and go off for a while. The character who then raps/taps his hand/fist on the top of the 'carriage' is a 'Bill Wyman' type.

Elsewhere in this blog I have a set of 27 or so probing questions that are designed for me, the dream 'owner' to extract meaning and value - as I perceive it. I will do this exercise and PERHAPS offer it as a separate document. However, as this will of necessity touch on facets of who I think I am, the personal not just the public me, and potentially my work set-up (people-and institution) I must of course be wary of such 'exposure' and 'disclosure'.

Importantly, for B822 'Creativity, Innovation and Change' this has or will prove to be an exercise that I can offer for my next TMA; what I don't expect are colleagues to start sharing their dreams with me because to do so is highly personal. The context, people forget when considering a dream and its interpretation is the inner workings of a person and their feelings which are often contorted and exaggerated and reflect the interplay between their conscious and subconscious, their genetic make-up, and their upbringing and personal history.

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B822 Techniques Library 'Working with dreams and imagery'

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Edited by Jonathan Vernon, Tuesday, 5 Feb 2013, 06:05

There's a warning on this activity, that the techniques may draw up uncomfortable events from your past.

This also highlights a major problem with such techniques:they can throw up the unexpected.

I like to think I have ample experience 'working with dreams' ; I have used them to develop story-lines and ideas, even to some degree for personal cognisance so it felt like an obvious one to give a try.

Context is vital, picking the right activity or game for the people you are working with.

How well do you know them?

It also makes me realise that I'd like to be in a working environment with the kind of colleagues and friends where I could employ such techniques.

I feel like a big fail; there are two activities suggested for problem solving, or creativity, innovation and change: keeping a dream diary and this, which offers ways to explore a dream's meanings and to re-enter and work with this environment created by your subconscious.

There's plenty troubling me at the moment but I find repeatedly that holding onto a dream is like chasing autumn leaves in a stiff breeze.

Take this morning; just a few moments awake I recall I had been dreaming and that it had been a 'good one': vivid but apparently not memorable enough. I tried all the tips in the book to recover or return to the dream: you have to place yourself exactly as you were as you had the dream. I still can't get it; I feel like MacBeth clutching at the dagger; it is always just out of reach.

By way of example I have a snippet of a dream from a few days ago: returning to the campsite after some kind of trip or activity in the woods I find my tent has gone: everything has been removed, as if I had never been there. The plot is bare. Why should I be thinking this as I return to work after a two week break?

The 'activity' is then to work with and develop your feelings about this moment, been to re-enter the dream, not simply to see what happens next but to change or influence the outcome. This then MAY offer a solution or at least an understanding of your feelings so that you can deal with them.

How to work with a dream or metaphorical image:

  • Entering the dream
  • Studying the dream
  • Becoming the images
  • Integrating the viewpoints
  • Reworking the dream

Appreciating, reflecting, looking forward and emerging

P.S. I just returned to work and couldn't have entered a more friendly environment, my desk as I'd left it.

P.P.S. I realise why I am 'losing' my dreams: stress. I'm waking up with a jolt, some unpleasant thought in the back of my mind.

Steve Jobs was hugely influenced by Zen Buddhism; this I understand would play to the importance of intuition. Intuition alone is not enough; this for Jobs was also the product of intense effort to get his head around an issue; he immersed himself in it until, to paraphrase the historian E.H.Carr he could 'hear it speak'.

20 LIFE LESSONS FROM STEVE JOBS

http://mashable.com/2011/12/18/steve-jobs-20-life-lessons/

REFERENCE

Glouberman, D. (1989) Life Choices and Life Changes Through Imagework, London, Unwin, pp. 232-6

Isaacson, W. (2011) Steve Jobs. Little Brown.

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Steve Jobs on the future of education

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Edited by Jonathan Vernon, Monday, 2 Jan 2012, 20:23

'All books, learning materials, and assessments should be digital and interactive, tailored to each student and providing feedback in real time'.

Steve Jobs quoted in Isaacson (2011:545)

He also favours highly personalised online earning with loads of vide keeping class for debate and discussion. Surely the class to some degree is redundant too given the increasing quality of the online experience?

REFERENCE

Isaacson, W. (2011) Steve Jobs. Little Brown

If enough people wish to discuss Steve Jobs I'll set up a group for OU folk over in LinkedIn?
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What we can learn from Steve Jobs

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:47

 

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Getting to the end of the 600 page biography I struggle to draw a conclusion. Perhaps he was Janus like, always looking in two directions, impish, black and white, loved it or hated it. Able to bend. Loyal (at least to his wife), even to certain friends. Selective then. He was in love with the way his mind worked.

He has been instrumental in changing the world and I feel better for having followed his products, if not his crede.

My iBook died in 2011; I have to replace it. Do I need a laptop if I have an iPad though? My inclination is to have something large and powerful enough to cut movies. The 'Full Monty' a 90 minute piece, to translate scripts I've written even developed as photo journals and start bringing some of the scenes to life.

The Steve Jobs Discussion Group on LinkedIn

http://www.linkedin.com/groups/Steve-Jobs-Walter-Isaacson-discussion-4236153?trk=myg_ugrp_ovr

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If Steve Jobs had been around to revolutionise Tertiary education I wonder what he would have done?

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Edited by Jonathan Vernon, Wednesday, 4 Jan 2012, 22:07

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Steve Jobs launching the iPod Nano

I can see that whilst the gift of Steve Jobs by Walter Isaacson is my gift of 2011 (on the last chapter), that I need it as a eBook.

I resisted making notes as I read 'because it's the holidays' yet now I am finding it repeatedly a nuisance to have missed a point or quote that under others circumstances I would have dutifully taken copious notes throughout. So here's one I couldn't afford to miss: From stand in CEO when Steve Jobs was ill in 2009 (but reflecting a Steve Jobs ethos)

'We are constantly focussing on innovation. We believe in the simple not the complex. We believe that we need to own and control the primary technologies behind the products that we make, and participate only in markets where we can make a significant contribution'.

'We believe in deep collaboration and cross-pollination of our groups, which allows us to innovate in a way that others cannot'.

'We have the self-honesty to admit when we're wrong and the courage to change'.

This is the kind of organisation I would like to work for. This is the kind of thinking needed for those studying B882 'Creativity Innovation and Change' and for H807 'Innovations in E-Learning'.

REFERENCE

Isaacson, W. (2011) Steve Jobs.

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B822 BK2 Technique Library 'Other People's Viewpoints'

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Edited by Jonathan Vernon, Wednesday, 4 Jan 2012, 05:07

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  • List three or four key people or roles
  • Allocated these to different groups
  • Get the groups to present their ideas

REF: de bono

REFERENCE

Henry, J. and Martin J.N.T. (1997) Creative Problem-Solving Guide, B882 Residential School Booklet, The Open University.

 

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B877 Techniques Library

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Edited by Jonathan Vernon, Saturday, 31 Dec 2011, 18:02

The alternatives:

I've suggested lunch, my next is the long walk.

150 problem solving techniques yet the meal and the walk are not included, yet there are still two of the very best ways to get to know someone, to hold their attention or to give them a chance to speak.

Steve Jobs did the walk, my father did the meal deal, weekend and the walk all rolled into one getting people out if London to the Lakes for the weekend.

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B822 Techniques Library: Eating Out (the business lunch)

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:39

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Or is each one an apple?

The 'Techniques Library' is a collection of some 150 activities or games that elicit from a person, or group (as small or as large as you like) answers to business problems, or at least ideas (potentially innovative or off-the-wall). Forty or so of these hold some appeal so I am picking my way through them; missing is the the meal, two or more people gathered for what I might describe as a 'continental' dining experience i.e. where you indulge for a couple of hours, mixing socialising with work, finding the middle ground.

Two observations:

1) As soon as you do one of the 'techniques' your starting point shifts

2) Whatever you do next comes a) with the outcomes of that activity and b) with the experience of the strengths and weaknesses of what you did.

I am reminded of the concept of 'Hilbert Space' that I became familiar with in 2000 when working for one of the most creative web agencies of the era (BAFTA, Cannes, IVCA top awards). Hilbert Space imagines a vortex full of holes; you exist in this space wearing a blindfold and holding a bag of marbles; to progress you role a marble forward, when it roles down a hole you listen out for the shin king noise, shuffle off in that direction, pause, then role another marble: this is how you find your direction, it is progression that is iterative and not in a straight line.

What about dinner?

Why has this been left out? The Business lunch is not about feeding your face at the office's expense, it is in part the experience of the meal, its pleasures and challenges, but also about the conversation and how the longer meal is conducive to so many of the things these exercises set out to achieve: shared points of view, listening, sharing, disagreeing in a non-combatitive manner and potentially leaving the table with some ideas sketched-out on a napkin (or the table-cloth). Other bonds are created, insights too on a person's tastes (literally).

Our problem in the UK (I have lived and worked in France) is that 'we eat to live, whereas the French live to eat'. We had luncheon vouchers to use and went out every day for a proper meal, we might take a work problem with us, we might not (I know setting where no business talk was permitted before the coffee). The dining room table became a meeting room.

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Dream Fail

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I need to get back into this. There was a dream that was 'project based' but I lost the plot despite my best efforts to 'retrieve' it. The trick is to drift into consciousness and if necessary shift around in bed so you are in the psition in which you had the dream: none of this worked even though i had the opening scenario my son in a football game played with a tennis ball that kept being kicked out of field. Then a Regional Manager I know made an appearance and we reconvene in a commercial kitchen. Now I draw a blank. In theory I may be able return to this moment tonight, in practice I may prepare better. Something needs to disturb your sleep without shocking you into consciousness. You can't make notes if it risks waking others either. As someone who can draw I have never found drawing a dream works, they are either too complex or shift, more importantly it is how you FEEL about the place, people and events that explains the dreams purpose.
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Dream Interpretation (big sis and B822)

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I thought I was well into my teens when I developed an interest in dreams, but as I am with my older sister she can put me straight: I was eleven. She would have been 14. So along with David Bowie, the Rolling Stones and Elton John she had me interpreting dreams. The way the wonderful way the mind does this as we talk about I recall a dream she had, even a freaky conviction that we both had the same dream and started telling each other what happened. What relevance has this to B822? Not much yet, but I doubt many people will follow through with this technique as one to solve a business problem or to generate innovation or support creativity: I plan to do so. P.S. This THIRD Christmas feasting has me helping a Project Director from the FT prepare carrots and parsnips; we try not to talk shop.
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B822 BK2 Technique Library Metaplan

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:33

I knew a Metaplan moderator well and become familiar with the texhnique which he taught in moderated groups all across Europe (in several langauges).

  • Cards of various shapes and sizes
  • A logical process

REFERENCE

Schnelle, E. (1979) The Metaplan Method: Communcation Tools for Planning and Learning Groups.

Business Week (1976) Industrial Edition, N0, 2436, 14 June 1976, p. 90G

'The Providence Plan' (1994) http:qqq.brown.edu/Departments/Taubman_Center/plan.ecap_ch2.html

 

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To think differently, live differently

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:28

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Reading the Steve Jobs biography, without taking notes (a sin, but it is the holidays), while also studying B822 'Creativity, Innovation and Change' I am increasingly inclined to ditch all techniques in favour of 'being yourself'. This is how Steve Jobs lived; he was himself, often without compromise, therefore difficult, particular and obsessive.

Some advertising creative types are laughable because of the way they go about things yet the simple act of behaving differently over an extended period of time is bound to create in that plastic mind a slightly different mind set. All it takes for an ad to stand out is for it to be different; to be effective it has to have relevance and resonance.

Having taken no notes at all on Steve Jobs I'll be obliged to read it again, notepad or iPad by my side.

If you thought there were rules or ways of doing things then this will throw your mind. Most of us can't be Steve Jobs, to realise his dreams someone has to put the ideas into action.

Had Steve Jobs done a Myers Briggs Type inventory what would he have been?

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B822 BK2 Technique Library 'Fresh Eye' and Networking

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:17

Don't get stuck in a specific way of doing things.

Get people with no idea of what the problem is about to take a look.

Encourage or permit niave ideas.

Makes me think of Clancy in 'Being There'.

Use the WWW. (Ask in Linkedin, Quora etcsmile

More from VanGundy (1988)

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B822 BK2 Technique Library 'Five Ws and H'

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:11

A prompt to thinking.

'I keep six honest, serving-men

(They taught me all I knew);

Their names are What and Why and When

And How and Where and Who.

 

Kipling (1902)

 

As aide memories back of an envelope, think out loud, journalism, PR ... but somewaht limiting to the facts, so you need t oexpand.

 

REFERENCE

 

Kipling, R. (1902) 'The Elephant's Child', in Just So Stories

 

 

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B822 Techniques Library : Selling

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Edited by Jonathan Vernon, Saturday, 3 Nov 2012, 22:04

B822 Techniques Library ‘Factors in ‘Selling’ ideas

Context

  • Timing
  • Audience
  • Idea champion

Content

Use simple language

Use a clear statement of the need for the idea. Describe the problem your idea will solve and explain why it needs to be solved.

  • Present both pros and cons
  • Provide evidence
  • Stress key points
  • Anticipate questions
  • Be persistent

Based on: VanGundy, A.B. (1988) Techniques of Structured Problem Solving, 2nd ed., Van Norstrand Reinhold. Technique p. 285

 

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B822 Technique Library ‘Creative Problem Solving’

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 07:01

1. Mess Finding

a. Divergent techniques (brainstorming, ‘wouldn’t it be nice if …’ (WIBNI)

b. Convergent techniques (hotspots)

2. Data Finding

a. Who, what, why, where, when, how and wants

b. Convergent (mind-mapping)

3. Problem finding

4. Idea Finding

5. Solution Finding

6. Acceptance Finding

Not sure if I would indulge this one.

 

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B822 BK2 Technique Library for creative problem solving

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Edited by Jonathan Vernon, Friday, 21 Feb 2014, 16:38

B822 Technique Library

My mother has always had a large drawer in a sideboard full of board games: Risk, Monopoly, Twister, Cluedo and Othello, and at some stage Chartbuster, Kerplunk, Masterpiece, Mousetrap and others.

Having picked my way through the B822 Creativity Innovation and Change ‘Technique Library’ A5 folder I feel I am looking into this drawer.

IDEA ONE: VISUALISATION

We have a large ‘Really Useful Box’ full of board games too.

In order to appreciate the game, to know if you like or loathe it, to know who would or would not enjoy it, you have to get them out and have a play. Over time attitudes to a game change. People take on a persona, you expect a certain kind of performance out of them. I rarely win at Monopoly because I buy everything until I run out of money.

Returning to the idea of a collection of board games I would far prefer a colourful pack of A5 cards, on one face an image, perhaps a colourful, humorous Steven Appleby cartoon, on the other the ‘game’.

The B822 Techniques ‘Library’ of assembled cards, ideas, folder is ‘like a collection of board games’ you might find at your Mum’s, in a box in the garage, or stacked on a cloakroom shelf in a holiday cottage. You get them out when you are bored, or in this case, stuck for an idea.

Middle Farm sells many varieties of cider and perry.

There is no catalogue. You cannot taste a list of titles. You collect a tasting cup and try out a selection; you get stuck in. You can ask the experts behind the counter, when you have something to discuss.

The B822 Techniques ‘Library’ of assembled cards, ideas, folder is ‘like a cider distillery’ where, to get beyond the titles and cataloguing, especially the false preference given by alphabetical order, you have to ‘have a taste’ and come to your own opinion.

My approach, against the advice, has been to read through them all. I remain tempted to take them all out and glue them inside pieces of card on which I will do a doodle or stick an image.

My first selection, my inquisitive mind, likes the look of :

Analogies

A succinct definition is required: A form of logical inference or an instance of it, based on the assumption that if two things are known to be alike in some respects, then they must be alike in other respects. (http://www.thefreedictionary.com/analogy)

There is an albatross airplane, this one in the USAF. It looks like a Puffin or a Dodo.

I would never liken a Jumbo jet to an albatross as the bird already has negative connotations. You cannot see it for its history. You shoot the thing and hang it around your neck.

A puffin or cormorant then.

Does anyone need to be told why a Jumbo jet and an albatross are not alike?

Filling in the blanks and sticking with the albatross I get the improbably sentence, ‘This problem makes me think of an albatross – that suggests to me that maybe we could try feathers (idea drawn from albatross)’. Sounds like a dead duck. Are there planes that were an albatross?

Perhaps Leonardo Da Vinci thought of a plane as a bird?

Were I to be introduce the concept of analogies to a group I would start with a blank sheet, seeking out people’s favourite analogies for everyday situations or problems and build from there. There’s a problem if you set in train a thought, here ornithological. Before you know it all the ideas are tits and boobies, eagles and dodos.

‘Try to find core verb phrase that captures the essential functional nature of what you are looking for’ (Martin & Bell, 2010). (There are no page numbers, so how do you reference it?)

If analogies taught the world to think, then promoted like this I would conclude that to use an analogy with its ‘analogues’ (sic) is akin to painting by numbers. It is present in such an unnecessarily analytical manner.

Definition: An analogue is: something analogous to something else (http://www.thefreedictionary.com/analogue)

How can a simple concept me made to sound like something carried out by an audit team from the local firm of accountants. It sounds painful rather than fun.

I have to look up (q.v) as in quo vid, or ‘which see’.

I track down the reference to Gordon by ‘going to see’ Synectics, a software version as ThoughtPath exists.

· Are you dealing with the person who owns the problem?

· Are they looking for a number of solutions

· Establish the team

If ‘analogies are often used very informally’ then an informal, rather than this proposed formal approach should be offered.

1. What is it you want ideas for?

2. Based on the verb phrases list items that it is like

3. Pick an interesting one

4. Describe the analogy

Gordon (1961) identified four types:

· Direct

· Symbolic

· Fantasy

· Personal

IDEA TWO: MIND-MAP

IDEA THREE: RELATIONAL DATABASE

I would put all these problems onto a wall chart. I’d put everything online into a blog that could be searched by tag (or key word), or load them into a relational database such as FilemakerPro.

Twenty years ago (perhaps fifteen?) I used a CD-ROM called 'Ideafisher' to help generate ideas. I treated it as the equivalent of a mental tickling stick, not a set of answers, but a potential catalyst that would open up my mind (sometimes too far).

 

REFERENCE

Gordon, W.J.J. (1961) Synectics, New York, Harper & Row.

VanGundy, A.B. (1988) Techniques of Structured Problem Solving, 2nd ed, Van Norstrand Reinhold. Techniques 4.01, 4.06, 4.57

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B822 Techniques Library: KEEPING A DREAM DIARY

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Edited by Jonathan Vernon, Thursday, 19 Apr 2012, 06:59

You can't keep this up; you become habitualised  to recording your dreams and you find yourself losing sleep waking up t write them down. They can be revealing.

See also ‘Working with dreams and images

Motivate yourself to remember your dreams

When you stir into consciousness lie quietly until the dream is recalled.

Make a record, a note at least. (Not sure about drawing it)

Keep a tape recorder by the bed L

(If you have someone else in bed with you this is impractical)

If you wake up remembering a dream jot down the basics before they disappear for ever then try this set of questions to extract your personal meaning:

I don't recall where I got is from but suspect as I am introduced to her work as part of B822 'Creativity, Innovation and Change' that it is Patricia Garfield (1976).

I have recorded and analysed so many dreams that for a period I kept a dream diary and when I started to blog in 1999 many dreams went into a domain which I have now mislaid sad Meanwhile, search 'dream' here or 'dream' in my mind bursts will produce a handful of dreams I am prepared to share that I have analysed to death. But does it move me on? Sometimes stopping to think is a mistake, it results in over thinking, even procrastination, often disatisfaction with your lot.

It is part of the 'Technique Library'. We are invited to 'Keep a dream diary'.

1: Who are you in the dream?

2: Who are you with in the dream?

3: What details stand out?

4: What do you feel about these details?

5: What are the various actions in the dream?

6: How are you acting and behaving in this dream?

7: What relation does this dream have to your personality?

8: What does the dream want from you?

9: What are the various feelings in this dream?

10: What relation does this dream have to what is happening right now in your life?

11: Why did you need this dream?

12: Why have you had this dream right now?

13: What relation does this dream have to something in your future?

14: What questions arise because of this dream work?

15: Who or what is the adversary in the dream?

16: What is being wounded in this dream?

17: What is being healed in this dream?

18: What or who is the helping or healing force in this dream?

19: Who or what is your companion in this dream?

20: Who are your helpers and guides in life as well as in your dreams?

21: What symbols in this dream are important to you?

22: What actions might this dream be suggesting you consider?

23: What can happen if you work actively with this dream?

24: What is being accepted in this dream?

25: What choices can you make because of having this dream?

26: What questions does this dream ask of you?

27: Why are you not dealing with this situation?

28: What do you want to ask your dream spirits?

REFERENCE

McKim, R.H. (1980) Experiences in Visual Thinking, Belmont, CA. PWS Publishers (Wadsworth Inc.), pp. 101-3

Garfield, P. (1976) Creative Dreaming, New York, Ballantine, Chapter 8, 'How to keep your dream diary'.

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