==========================
MAKING IDEAS HAPPEN
Overcoming the Obstacles Between
Vision and Reality
by Scott Belsky (nonfiction)
Published by Portfolio
a member of Penguin Group (USA) Inc.
======================================
Risa was a brilliant mind left to her own devices. Without others to
challenge her ideas and hold her accountable, she was struggling.
The turning point for Risa involved setting up a blog, engaging a
dear friend who became a mentor, and joining a local philosophy
forum where she could exchange her ideas with others on a weekly
basis. Her scattered ideas became a more focused set of projects.
Eventually, Risa's years of research resulted in a published book
that received much fanfare. For Risa, the forces of community made
all the difference.
Chad's and Risa's stories showcase some of the common struggles of
the creative mind. Making ideas happen often comes down to a battle
against our own essence. Having a brilliant creative mind won't cut
it.
In this book, I will focus on creative leaders and teams across
industries that, time and time again, make their ideas happen. One
such leader is Jonathan Harris. A unique hybrid of artist,
intellectual, and technologist, Harris is best described as a
storyteller and Internet anthropologist. He may have graduated from
Princeton, but there is nothing traditional about his career.
Jonathan's passion, as he describes it, is to pursue ideas that
"begin with really basic questions about the world" and explore "the
role of stories as time capsules."
Such a broad passion might be dismissed as typical go-nowhere
creative ambition. But Jonathan has been exceptionally productive in
his creative endeavors. Before the age of twenty-eight, he launched
multiple award-winning Web productions that pushed the envelope of
human interaction with technology. His projects--"We Feel Fine," a
global online experiment in human emotion that allows you to observe
thousands of people expressing a common feeling at once;
"Phylotaxis," an exploration of the intersection of science and
culture; and the critically acclaimed "Whale Hunt," a photo
documentary that employed a head-mounted camera that automatically
captured photographs every few minutes during an Alaska whale-
hunting trip--were all ideas that actually happened.
Jonathan's work has been featured on CNN and the BBC, and in
"Wired," and exhibited at Le Centre Pompidou in Paris and the Museum
of Modern Art in New York. In short, Jonathan is not hampered by his
ceaseless flow of ideas. At a glance, his ideas might seem too lofty
or avant-garde to gain traction. But they consistently defy the
odds. Jonathan gives his ideas every chance to succeed by pushing
them to fruition.
"I think there are two phases," Jonathan explained to me, "the first
being the one where you are just picking up signals from the ether.
[Ideas] aggregate over time and then pop out one day when you are in
the shower. I think the second phase is deciding 'Okay, I'm going to
actually pursue this given thing.' And then once you've decided,
it's a different mind-set from that point forward. At least with
that particular idea, because you have to become more rational and
more logical, more disciplined. It's less about receiving and it's
more about synthesizing and distilling and then ultimately
producing. And I think it's something that a lot of creative people
struggle with because maybe the former is a more pleasing way to
live your life, but the latter is the only way that you actually get
anything done."
Jonathan believes that any successful creative entity must be
comfortable alternating between these two creative phases: ideation
and execution. When Jonathan starts talking about his approach to
projects and work flow, you immediately sense the value he places on
self-discipline and simplicity. You also realize that Jonathan
begins a project with serious expectations for its viability with an
audience. While his work is personally fulfilling, its true purpose
is to reach other people.
Many claim they create solely for themselves; they argue that the
conception and actualization of an idea is simply a means for self-
fulfillment and nothing more. But this argument is selfish: an idea
executed for an audience of one is an awful waste of potential
inspiration and value for the greater good.
"I think that if you want to treat your work like a virus that will
reach a lot of people," Jonathan explained, "it's good to package it
in a way that can optimize the number of people it can reach, and
that can mean different things. You can make something really,
really palatable and turn it into an HBO miniseries or you can make
something moderately palatable and turn it into something that goes
into an art museum or you can make something not at all palatable
and turn it into something you do in your basement."
Jonathan is just another member of the powerful cadre of creative
professionals who have been able to overcome the challenges posed by
the creative psyche. The attributes that Jonathan embodies are
common among people who routinely push ideas to fruition.
The most exceptional creative leaders and teams who I have met are
able to generate a surplus of ideas with discipline and poise. They
ground their creative energy with a supreme sense of organization.
As professionals, they have overcome the stigma of self-marketing
and use their respective communities to stay accountable. And as
leaders, they are able to build and lead teams that thrive over
time.
The quality of ideas themselves is less important than the platform
upon which they materialize. Realize that you control the platform
for your ideas.
THE FORCES THAT MAKE IDEAS HAPPEN
This book is divided into three sections, each presenting a critical
set of tools for making ideas happen: Organization and Execution,
the Forces of Community, and Leadership Capability. Of course, there
is also the idea itself--the catalyst. But, for the purposes of this
book, I will leave the creative inspiration and ideas up to you.
MAKING IDEAS HAPPEN = "(THE IDEA)" + ORGANIZATION AND EXECUTION +
FORCES OF COMMUNITY + LEADERSHIP CAPABILITY
The capacity to make ideas happen is defined by the confluence of
the three core components outlined in the equation shown here.
Reaching your greatest potential requires mastering the intricate
balance of all three forces at play--whether you are executing an
idea on your own or working with a team.
Let's quickly discuss the relevance of the three components:
"Organization and execution." It is undeniable that your approach to
productivity largely determines your creative output. The way you
organize projects, prioritize, and manage your energy is arguably
more important than the quality of the ideas you wish to pursue.
There is nothing new in this assertion. The necessity of staying
organized has been well-documented in innumerable books. Our thirst
for a simple solution is evident in the huge success of methodology-
oriented books and productivity blogs.
Few, however, have explored organization and execution within the
context of the creative mind, or within the context of our rapidly
changing work environment. Creatives have always represented one of
the most mobile groups in the workforce, and this trend of mobility
is now extending to the business world at large.
The ranks of freelance, contract, and part-time workers as well as
small-business owners are increasing daily. Many businesses are
hiring people for rotational programs that last only two years.
Practices such as "daylighting"--in which an employee works on a
creative, personal project for 10-20 percent of their at-work time--
are increasing in popularity as companies like Google tout their
effectiveness. Even the more traditional "lifer" companies, such as
General Electric and IBM, are acknowledging the value of a shorter
experiential education over a lifelong career opportunity.
==========TABLE OF CONTENTS===========
INTRODUCTION: Making Ideas Happen
1. Organization and Execution
2. The Forces of Community
3. Leadership Capability
MAKING IDEAS HAPPEN
Overcoming the Obstacles Between
Vision and Reality
by Scott Belsky (nonfiction)
Published by Portfolio
a member of Penguin Group (USA) Inc.
======================================
Risa was a brilliant mind left to her own devices. Without others to
challenge her ideas and hold her accountable, she was struggling.
The turning point for Risa involved setting up a blog, engaging a
dear friend who became a mentor, and joining a local philosophy
forum where she could exchange her ideas with others on a weekly
basis. Her scattered ideas became a more focused set of projects.
Eventually, Risa's years of research resulted in a published book
that received much fanfare. For Risa, the forces of community made
all the difference.
Chad's and Risa's stories showcase some of the common struggles of
the creative mind. Making ideas happen often comes down to a battle
against our own essence. Having a brilliant creative mind won't cut
it.
In this book, I will focus on creative leaders and teams across
industries that, time and time again, make their ideas happen. One
such leader is Jonathan Harris. A unique hybrid of artist,
intellectual, and technologist, Harris is best described as a
storyteller and Internet anthropologist. He may have graduated from
Princeton, but there is nothing traditional about his career.
Jonathan's passion, as he describes it, is to pursue ideas that
"begin with really basic questions about the world" and explore "the
role of stories as time capsules."
Such a broad passion might be dismissed as typical go-nowhere
creative ambition. But Jonathan has been exceptionally productive in
his creative endeavors. Before the age of twenty-eight, he launched
multiple award-winning Web productions that pushed the envelope of
human interaction with technology. His projects--"We Feel Fine," a
global online experiment in human emotion that allows you to observe
thousands of people expressing a common feeling at once;
"Phylotaxis," an exploration of the intersection of science and
culture; and the critically acclaimed "Whale Hunt," a photo
documentary that employed a head-mounted camera that automatically
captured photographs every few minutes during an Alaska whale-
hunting trip--were all ideas that actually happened.
Jonathan's work has been featured on CNN and the BBC, and in
"Wired," and exhibited at Le Centre Pompidou in Paris and the Museum
of Modern Art in New York. In short, Jonathan is not hampered by his
ceaseless flow of ideas. At a glance, his ideas might seem too lofty
or avant-garde to gain traction. But they consistently defy the
odds. Jonathan gives his ideas every chance to succeed by pushing
them to fruition.
"I think there are two phases," Jonathan explained to me, "the first
being the one where you are just picking up signals from the ether.
[Ideas] aggregate over time and then pop out one day when you are in
the shower. I think the second phase is deciding 'Okay, I'm going to
actually pursue this given thing.' And then once you've decided,
it's a different mind-set from that point forward. At least with
that particular idea, because you have to become more rational and
more logical, more disciplined. It's less about receiving and it's
more about synthesizing and distilling and then ultimately
producing. And I think it's something that a lot of creative people
struggle with because maybe the former is a more pleasing way to
live your life, but the latter is the only way that you actually get
anything done."
Jonathan believes that any successful creative entity must be
comfortable alternating between these two creative phases: ideation
and execution. When Jonathan starts talking about his approach to
projects and work flow, you immediately sense the value he places on
self-discipline and simplicity. You also realize that Jonathan
begins a project with serious expectations for its viability with an
audience. While his work is personally fulfilling, its true purpose
is to reach other people.
Many claim they create solely for themselves; they argue that the
conception and actualization of an idea is simply a means for self-
fulfillment and nothing more. But this argument is selfish: an idea
executed for an audience of one is an awful waste of potential
inspiration and value for the greater good.
"I think that if you want to treat your work like a virus that will
reach a lot of people," Jonathan explained, "it's good to package it
in a way that can optimize the number of people it can reach, and
that can mean different things. You can make something really,
really palatable and turn it into an HBO miniseries or you can make
something moderately palatable and turn it into something that goes
into an art museum or you can make something not at all palatable
and turn it into something you do in your basement."
Jonathan is just another member of the powerful cadre of creative
professionals who have been able to overcome the challenges posed by
the creative psyche. The attributes that Jonathan embodies are
common among people who routinely push ideas to fruition.
The most exceptional creative leaders and teams who I have met are
able to generate a surplus of ideas with discipline and poise. They
ground their creative energy with a supreme sense of organization.
As professionals, they have overcome the stigma of self-marketing
and use their respective communities to stay accountable. And as
leaders, they are able to build and lead teams that thrive over
time.
The quality of ideas themselves is less important than the platform
upon which they materialize. Realize that you control the platform
for your ideas.
THE FORCES THAT MAKE IDEAS HAPPEN
This book is divided into three sections, each presenting a critical
set of tools for making ideas happen: Organization and Execution,
the Forces of Community, and Leadership Capability. Of course, there
is also the idea itself--the catalyst. But, for the purposes of this
book, I will leave the creative inspiration and ideas up to you.
MAKING IDEAS HAPPEN = "(THE IDEA)" + ORGANIZATION AND EXECUTION +
FORCES OF COMMUNITY + LEADERSHIP CAPABILITY
The capacity to make ideas happen is defined by the confluence of
the three core components outlined in the equation shown here.
Reaching your greatest potential requires mastering the intricate
balance of all three forces at play--whether you are executing an
idea on your own or working with a team.
Let's quickly discuss the relevance of the three components:
"Organization and execution." It is undeniable that your approach to
productivity largely determines your creative output. The way you
organize projects, prioritize, and manage your energy is arguably
more important than the quality of the ideas you wish to pursue.
There is nothing new in this assertion. The necessity of staying
organized has been well-documented in innumerable books. Our thirst
for a simple solution is evident in the huge success of methodology-
oriented books and productivity blogs.
Few, however, have explored organization and execution within the
context of the creative mind, or within the context of our rapidly
changing work environment. Creatives have always represented one of
the most mobile groups in the workforce, and this trend of mobility
is now extending to the business world at large.
The ranks of freelance, contract, and part-time workers as well as
small-business owners are increasing daily. Many businesses are
hiring people for rotational programs that last only two years.
Practices such as "daylighting"--in which an employee works on a
creative, personal project for 10-20 percent of their at-work time--
are increasing in popularity as companies like Google tout their
effectiveness. Even the more traditional "lifer" companies, such as
General Electric and IBM, are acknowledging the value of a shorter
experiential education over a lifelong career opportunity.
==========TABLE OF CONTENTS===========
INTRODUCTION: Making Ideas Happen
1. Organization and Execution
2. The Forces of Community
3. Leadership Capability
选择“Disable on www.wenxuecity.com”
选择“don't run on pages on this domain”
