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The Playful City: From the 1960s Strive for Spontaneity to Today’s Space of Entertainment - Failed Architecture
"The unscripted play advocated by the Eventstructure Research Group has over the last few decades been lost to increasingly consumption-oriented spaces, encouraging prescribed entertainment and leisure."



"Leisure and entertainment, or play?
Half a century later, the same ideas developed by the Eventstructure Research Group now provide the theme for the Dutch Pavilion at the 2018 International Venice Architecture Biennale: work, body, leisure. The exhibition addresses the spatial configurations, living conditions, and notions of the human body resulting from ongoing transformations in the ethos and the conditions of labour. How will these changes affect the relationship between work, body and leisure, and which possible scenarios could we design accordingly? The main theme and the questions raised all seem derived from Constant’s thinking, and are also in line with the philosophy of the Situationists and that of the Eventstructure Research Group. An important difference, however, is that leisure seems a less powerful term than play. In contemporary usage, leisure is a passive term, associated with holidays and relaxation–a temporary break from day-to-day working life. This is merely the opposite of work, a calculated part of economic logics, while the aim of the Situationists was actually to transform work into play, in such a way that work, play and the body eventually would become one.

The Situationists considered their contemporary city of the late 1950s to be one of boredom, and wished to change it into a city of stimulation. Today, one could now argue that our own physical city is not one of boredom: 24-hour shopping, multiplex cinemas, game consoles, texting, and whatever other myriad possibilities are available to entertain us day and night – an ongoing stream of information, impulses and encouragements for active consumption. Eat now! Drink now! Exercise now! Drive now! Play now! The present-day city is one of continuous (over)stimulation. Is this the city the Situationists had in mind? Probably not. We may also ask, are all these forms of play really that effective in eliminating our boredom? Sandi Mann, author of The Upside of Downtime: Why Boredom Is Good, argues quite the opposite: “The more entertained we are the more entertainment we need in order to feel satisfied. The more we fill our world with fast-moving, high-intensity, ever-changing stimulation, the more we get used to that and the less tolerant we become of lower levels.”

The Situationists’ idea of play is quite different from the 21st century, entertainment-driven idea of play. Their idea of play strived for true spontaneity. It aimed to be active, non-conformist, anti-capitalistic and therefore critical. Today’s non-critical ‘play’ is about passive consumption, over-stimulation and intellectually apathy.

Additionally, the Situationists aimed to restructure the modern aesthetic experience by rejecting functionalism, instead favouring and celebrating complexity. Present-day cities have become exactly that: a complex of layered physical infrastructures, roads, waterways, air-routes, tubes, electricity lines, antennas, digital highways and so on. The near future will most likely see a steady-increase of the complexity of this infrastructure, with drone-like postal services, personal air transportation and more virtual landscapes added to the city. Complex infrastructure – and entertainment – is all that surrounds us. The city the Situationists imagined is there, but more than that. It has stepped up, pushed the fast-forward button and gone into overdrive.

This complex and fast-paced modern city however did not make citizens more critical towards capitalism. Today’s modern city is a largely scripted complexity of abundance, but with little place for disorder. The excess and the abundance of stimulation in the city today would make an action like Pneutube nothing more than a side note in the daily high-speed routine. People would probably shrug their shoulders, look up from their smartphones for a few moments and then continue their day. If architecture nowadays is capable at all of stimulating critical and non-conformist thinking, it can only do that through much more radical interventions. The ambitions of the ERG could be adopted, but a different output will have to be found to make an actual difference in today’s society.

What would be considered a radical architectural intervention today? Does architecture have the power to disrupt the dominant system? If this seemed possible in the past, with buildings such as the Centre Pompidou, today’s architecture seems to have lost its revolutionary potential. Not many buildings today are capable of surprising us because of the ideas that fuelled them, and not just because they are bigger, larger, or taller than their neighbours. In order to be truly radical, an architectural intervention today should be capable of criticizing the domination of technology and the authority of the algorithm. As the capitalist society that ERG was trying to dismantle does not look so different from today’s market economy in which citizens walk, travel, and even vote according to Google, Airbnb, or Facebook. Can contemporary architecture provide critical reflection on that?"
consumerism  commercialism  jornkonijn  2018  play  openended  entertainment  leisure  situationist  architecture  markets  capitalism  society  cities  urban  urbanism  functionalism  complexity  open-ended 
march 2019 by robertogreco
SpeculativeEdu | Superflux: Tools and methods for making change
"Anab Jain and Jon Ardern of Superflux (“a studio for the rapidly changing world”) talk to James Auger about their approach, their recent projects, and their educational activities.

Superflux create worlds, stories, and tools that provoke and inspire us to engage with the precarity of our rapidly changing world. Founded by Anab Jain and Jon Ardern in 2009, the Anglo-Indian studio has brought critical design, futures and foresight approaches to new audiences while working for some of the world’s biggest organisations like Microsoft Research, Sony, Samsung and Nokia, and exhibiting work at MoMA New York, the National Museum of China, and the V&A in London. Over the last ten years, the studio has gained critical acclaim for producing work that navigates the entangled wilderness of our technology, politics, culture, and environment to imagine new ways of seeing, being, and acting. The studio’s partners and clients currently include Government of UAE, Innovate UK, Cabinet Office UK, Red Cross, UNDP, Mozilla and Forum for the Future. Anab is also Professor at Design Investigations, University of Applied Arts, Vienna.

[Q] You practice across numerous and diverse fields (education, commercial, gallery). Does your idea of speculative design change for each of these contexts? How do you balance the different expectations of each?

We don’t tend to strictly define our work as “Speculative Design”. Usually we say we are designers or artists or filmmakers. Speculative Design is gaining traction lately, and we might have a client of two who knows the term and might even hire us for that, but usually they come to us because they want to explore a possible future or a different narrative, or investigate a technology. We think our work investigates a potential rather than speculating on a future. Speculation is an undeniable part of the process but it is not the primary motivation behind our work. Our work is an open-ended process of enquiry, whilst speculation can at times feel like a closed loop.

[Q] There is a tendency, in many speculative design works, towards dystopian futures. It seems that as with science fiction, apocalyptic futures are easier to imagine and tell as stories. Focusing on your CCCB installation, Mitigation of Shock, how would you describe this project in terms of its value connotation? What is the purpose of such a project?

For us, Mitigation of Shock is actually not apocalyptic at all, but instead a pragmatic vision of hope, emerging from a dystopian future ravaged by climate change. On a personal level, it can be difficult for people to imagine how an issue like global warming might affect everyday life for our future selves, or generations to come. Our immersive simulation merges the macabre and the mundane as the social and economic consequences of climate change infiltrate the domestic space.

The installation transports people decades into the future (or perhaps even closer on the horizon), into an apartment in London which has been drastically adapted for living with the consequences of climate catastrophe. Familiar, yet alien. A domestic space alive with multispecies inhabitants, surviving and thriving together in an indoor microcosm. Climate projections from the beginning of the century have unfurled into reality, their consequences reverberating across the globe. Climate catastrophes shatter global supply chains. Economic and political fragility, social fragmentation, and food insecurity destabilise society.

Rather than optimistically stick our heads in the sand, or become overwhelmed with fear, we decided to catapult ourselves and others directly into a specific geographical and cultural context to experience the ripple effects of extreme weather conditions. Hope often works best alongside tools for proactively tackling future challenges. Which is why, in this year-long experimental research project, we explored, designed and built an apartment located in a future no one wants, but that may be on the horizon. Not to scare, or overwhelm, but to help people critically reflect upon their actions in the present, and introduce them to potential solutions for living in such a future. The evidence in the apartment may reflect a different future, but all the food apparatus was in fully working condition, no speculation there. We wanted to demonstrate that we have the tools and methods we need to make the change today.

[Q] We are living in complicated times – politically, environmentally, culturally. After several years of speculative and critical design evolution, do you think that it can have a more influential role in shaping futures/alternatives beyond the discussions that typically take place in the design community?

We wrote a little bit about this here: https://medium.com/superfluxstudio/stop-shouting-future-start-doing-it-e036dba17cdc.

[Q] Could it adopt more political or activist role? If so, how could this aspect be incorporated into education?

Yes definitely. Our latest project Trigger Warning explores this very space: https://mod.org.au/exhibits/trigger-warning. And then a completely different project: http://superflux.in/index.php/work/future-of-democracy-algorithmic-power/#temp.

[Anab] Also my students at the Angewandte will be exploring the theme of “futures of democracy” in the upcoming semester.

[Q] Coming from India but educated at the RCA, what was your take on the “privilege” discussion via Design and Violence? More specifically, what can we learn from this debate? How can it push speculative design forwards?

[Anab] I sensed an underlying assumption in that debate that anybody from the West was seen as “privileged” and anyone from any other colonised country is not. Whilst there is a long and troubling history to colonisation in India, I do bear in mind that India was always a battleground for clans and dynasties from other countries long before the West came and colonised it. These issues are very complex, and I think the only way we can attempt to understand them is by avoiding accusations and flamewars, but instead opening up space for everyone’s voice to be heard.

As things stands today, even though I come from India, a lot of people would argue that, within India, I am privileged because I had the opportunity to choose my education path and the person I want to marry. On the other hand, I know lots and lots of people in the West (white/male even) who are disempowered because of systemic privilege within the West. So discussions of race, gender expression and privilege are much more granular than simplistic accusations, and I strongly believe that designers who address complex issues, whilst battling student loans and rents, should be applauded, not condemned.

[Q] How can we resist or overcome the situation where avant-garde design practices, established as a resistance to the dominant system, ultimately become appropriated by the system?

If we successfully overturn capitalism, the rest will follow."
superflux  2019  anabjain  jonardern  jamesauger  design  designfiction  speculativefiction  speculativedesign  capitalism  democracy  climatechange  education  marrtive  film  filmmaking  art  artists  potential  inquiry  open-ended  openendedness  hope  globalwarming  future  politics  activism  india  colonialism  colonization  complexity  privilege  openended 
february 2019 by robertogreco
Bryan Roberts of Venrock on Seeing Problems as Opportunities - The New York Times
by ADAM BRYANT OCT. 13, 2017

Bryan Roberts always tries to interact with people who put other people front and center, rather than themselves. His reasoning....People who are self-directed generally gather accomplishments and accolades and are very happy to tell you about them. When people are company- or mission-directed, it manifests as humility, and they generally push credit off onto other people.....You’ve been at Venrock for 20 years. How many pitches have you heard from entrepreneurs over the years?

Probably about 25,000. I hate getting pitched, by the way. The part of the job I love is when you and I have decided to work together to go solve a problem that the world thinks can’t be solved.

I don’t like sitting on one side of the table trying to discern the problems you’re leaving out while you give me the world-is-a-bed-of-roses version of what you’re trying to do.

The pitches are just a means to a small number of relationships where we can go do something extraordinary.

I imagine you interview executives for your portfolio companies. How do you hire?

I start off most interviews with, “What can I answer for you?” It tells me a lot, including how knowledgeable they are about the company, how much they’ve thought about the interview and what they care about. I leave it very open-ended and listen to where they go. I can tell an enormous amount from that.

Then I say to them, “If we take the next step, I’m going to do a bunch of reference checks. I’ll find 10 people who know you, including names you won’t give me. How will they describe you?”
vc  venture_capital  Venrock  problems  problem_solving  opportunities  serving_others  hiring  open-ended 
october 2017 by jerryking
Save Yourself From Tedious Small Talk - WSJ
By Sue Shellenbarger
Updated May 23, 2017

Only one in four people sees value in asking probing questions of strangers, based on a Contacts Count survey of 1,000 people. Doing so can be risky, says Lynne Waymon, the firm’s CEO and co-author of a book on networking. “I’m demanding more of you when I ask thought-provoking questions. I’m making an assumption that you’re in this conversation to make something of it—that you’re not going to see somebody across the room and say, ‘Oh, I need to go talk to Susan or Bob,’” she says. “But the connections you make are going to be much more dramatic and long-lasting.”
Sue_Shellenbarger  conversations  ice-breakers  questions  Communicating_&_Connecting  open-ended  small_talk 
may 2017 by jerryking
Learn to Ask Better Questions - HBR
John Baldoni
FEBRUARY 16, 2010

Be curious.... Being curious is essential to asking good questions.

Be open-ended. Leaders should ask questions that get people to reveal not simply what happened, but also what they were thinking. Open-ended questions prevent you from making judgments based on assumptions, and can elicit some surprising answers.

Be engaged. When you ask questions, act like you care. Yes, act — show that you are interested with affirmative facial expressions and engaged body language. ... An interested interviewer will get the person to talk in depth about how he or she rebounded from failure. That trait is worthy of consideration in recruiting. But interviewees will only open open up — especially on sensitive subjects — if you actively show interest.

Dig deeper.... when information surfaces in your dialogue, dig for details without straying into recrimination. Get the whole story. Remember, problems on your team are, first and foremost, your problems.
questions  HBR  howto  curiosity  second-order  body_language  open-ended  follow-up_questions 
june 2015 by jerryking
more-than-human lab - On anthropology, not ethnography, and design
"“Let me begin by restating what, I think, anthropology is. It is, for me, a generous, open-ended, comparative, and yet critical inquiry into the conditions and potentials of human life in the one world we all inhabit. It is generous because it is founded in a willingness to both listen and respond to what others have to tell us. It is open-ended because its aim is not to arrive at final solutions that would bring social life to a close but rather to reveal the paths along which it can keep on going. Thus the holism to which anthropology aspires is the very opposite of totalisation. Far from piecing all the parts together into a single whole, in which everything is ‘joined up’, it seeks to show how within every moment of social life is enfolded an entire history of relations of which it is the transitory outcome. Anthropology is comparative because it acknowledges that no way of being is the only possible one, and that for every way we find, or resolve to take, alternative ways could be taken that would lead in different directions. Thus even as we follow a particular way, the question of ‘why this way rather than that?’ is always at the forefront of our minds. And it is critical because we cannot be content with things as they are.

[…]

Like participant observation, design offers anthropology a way of working that avoids the schizochrony of ethnographic inquiry, and a viable alternative to traditional anthropology-by-means-of-ethnography. The observations, descriptions and propositions of design anthropology are not retrospective but prospective: their purpose is not to interpret but to transform. Design, in short, is not and cannot be a practice of ethnography; it is rather an alternative way to ethnography of doing anthropology – a way that releases the speculative and experimental possibilities of the discipline that the traditional appeal to ethnography has suppressed.”

—Tim Ingold: Design Anthropology Is Not, and Cannot Be, Ethnography (.doc) [https://kadk.dk/sites/default/files/08_ingold_design_anthropology_network.doc ]"
timingold  design  designanthropology  ethnography  anthropology  listening  criticalinquiry  inquiry  speculativedesign  experimentation  observation  holism  criticaldesign  open-ended  unfinished  comparison  via:anne  openended 
june 2015 by robertogreco
Small words make a big difference: how to ask incisive usability questions for richer results | Loop11
abbreviated “ASK” – which helps me to focus on crafting constructive questions. Here it is:

A. Avoid starting with words like “Are”, “Do”, and “Have”. Questions that start with these type of verbs are a surefire way to nip insights in the bud. It can lead to what’s called a closed question, i.e. something that can literally close a conversation with a “Yes” or “No” answer. While it may be useful to gather this sort of data at times, try instead to open it up. Using open questions, as Changing Minds notes, gives us time to think, reflect, and provide opinions.
S. Start with W. The 5 W’s – i.e. who, what, when, where, and why – are the building blocks for information-gathering. It’s a tool from rhetoric, historically attributed to the Greeks and Romans. Essentially, the 5 W’s help us pull out the particulars. The magic behind them is that none of them can be answered with just a “yes” or “no”, so we’re always going to get a bit more of an expressive answer from subjects.
K. Keep it short. As researchers, we can often let curiosity get the best of us. Excited, we may list out a string of questions, asking more than necessary. By asking more than one question at a time, we ruin the focus of a conversation. We should try to keep our questions short and sweet, so that they may be digested more appropriately.
questions  open-ended  brevity  howto  insights  rhetoric  Romans  Greek  focus  incisiveness  5_W’s  small_moves 
december 2014 by jerryking
Toca Boca’s Apps: The Best iPad Games for Kids? : The New Yorker
"Toca Tea Party is also a multiplayer, interactive experience: you can sit three kids around the iPad, and each one gets a drink and a plate, a chance to pour, spill, and wipe up. In Hanna Rosin’s recent Atlantic cover story, “The Touch-Screen Generation,” she describes the iPad as functioning “like a tea table without legs.” At the end, when the last doughnut is eaten (tap, tap, tap on the plate), a basin of water pops up and everyone can put their dishes in the sink. “We got feedback saying, ‘We want to do more dishes!,’ ” Jeffery says. “No adult has said that ever. Kids just want to participate, and housework is an environment they are familiar with.” Toca House offers much more virtual cleaning: mopping, laundry, dishwashing, and (my personal favorite) ironing that never ends in scorching or ironed-in wrinkles. Jeffery says they have gotten a lot of response from parents of children with autism on Toca House, which they can use to practice everyday tasks—without real-world frustration.

Although the praise from the autism community was unexpected, a frictionless play environment was part of Toca Boca’s mission from the start. Toca Boca apps have no levels, no rewards, no beginning, middle, and end. They also have almost no words, because much of their target market can’t read. Why frustrate the kids with written instructions? And why pay to have those instructions translated into the languages of the hundred and forty-six countries where the apps are sold?

“If you look at what’s available in the App Store, almost everything is in the learning category, only books and games,” says Jeffery. “That’s how adults play. Read a book, play Angry Birds on your phone. But you would rarely pick up a doll… which is a shame.” What Toca Boca is trying to do is open up the digital experience, let kids make mistakes, figure it out as they go along—without getting eaten by a zombie, or pigeonholed as a princess."
alexandralange  2013  applications  children  iphone  ipad  ios  tocaboca  design  rewards  play  openended  open-ended 
march 2014 by robertogreco
My student asked me a question | Gardner Writes
"What I always try to do, whenever I teach, is to arrange the class as a shared project. We’re making a movie together. We’re making a record together. We’re building a house together. The whole meta-team idea was an extreme version of something I now recognize I’d been doing for decades. The idea of the course as a series of meetings, all self-contained, has always been boring to the point of hysteria for me. I’d have a similar reaction (have had, in fact) to a PowerPoint presentation full of inane and obvious bullet points and nothing else–no images, no video, no sound, nothing out of the ordinary. Same thing. All inert lists.

Over time, inert lists have come to be expected by many students, maybe even most students. They actually come to prefer it, very often. Inert lists make everything so much more manageable. Stuff in stacks. I didn’t want stuff in stacks. I wanted art or mystery or eureka or games or symphonies or laboratories or studios.

So when I teach, I try to convey, in every way I can imagine, that this is not going to be an experience of stuff in stacks. And every time I sense a student is going along with the idea of no-stuff-in-stacks, I try to reward that right away with attention and commitment and equal blends of zaniness and intensity. When one fishes, there’s an art to landing the fish: the line has to be taut, but not so taut that it snaps or the fish gets away somehow. It takes a lot of patient back-and-forth and an art of the line as subtle as how a violinist holds her bow to make the strings sing. (Not to worry: I’m a catch-and-release kind of fisherman, though I do eat fish, I will confess.)

What’s never worked, in my experience, is making 90% of the experience stuff-in-stacks and making 10% “freedom to learn,” because the 90% just overwhelms the 10%. Truth to tell, “stuff-in-stacks” can overwhelm “freedom to learn” even at the 5% level. Stuff-in-stacks is a poison and it doesn’t take much to kill the learning.

I don’t know if any of that is helpful. All I can say this morning is that I try as hard as I can to help nudge the class forward in its journey, its project, its writing-itself-into-being. I try as hard as I can to let the class nudge me forward, too, because I’m also in it for the learning. And I try to do this with an absolute minimum, as close to zero as I can make it, of stuff-in-stacks. This is one of the reasons I love the internet. The web, at least so far, is full of what Walt Whitman calls “barbaric yawps.” These yawps can be like throwing a window wide open in the early spring, just before it’s really warm enough to do so, but just when you really want to because the stale inside winter air is just too stifling. So we shiver some, and we take in the cold air, and we smell some of the mud and early growth of just-spring, and our brains clear and our hearts beat faster for just a little while. And sometimes that’s enough to get everyone over the school-as-stuff-in-stacks hump and we can get another magic moment and recapture that feeling of determined yes.

I don’t mind syllabi or semesters. I kind of like final exams. I love projects and highly refined and purposeful zaniness. When creative thinking and critical thinking marry and have a child, the child’s name is joy–it’s the same child born to Cupid and Psyche in the old tale by Apuleius.

You’re working very hard to push a huge rock up a steep hill. When I teach, I have the opportunity to frame the whole encounter very differently. You don’t have that opportunity. But you do have extraordinary shining eyes and a heart for adventure and a mind for keen insight. So I’d say you should talk with the students, heart to heart, and tell them what your dreams are for this experience, and then see if anyone responds. If anyone does, then find a way to celebrate that, and keep on hoping that the response will catch on."
gardnercampbell  canon  teaching  howweteach  2014  via:audreywatters  stacks  freedomtolearn  learning  howwelearn  engagement  lcproject  tcsnmy  cv  openstudioproject  creativity  criticalthinking  content  openended  collaboration  cooperation  open-ended 
march 2014 by robertogreco
George Stephanopoulos on the Art of Conversation | Inc.com
October 2013| Inc. magazine| by Burt Helm

1. Prepare extensively. Good preparation leads to better questions. It also demonstrates a genuine interest, Stephanopoulos says. “Knowing what you’re talking about breeds respect on both sides,” he says. Before a 2009 interview about health care with President Barack Obama, Stephanopoulos prepared extensively to show his guest he had deep knowledge of the subject.

2. Don’t be a know-it-all. After all that prep work, you might feel like an expert. But keep things simple by starting with direct, open-ended questions. Then, use your knowledge to get your subject to expand on pat answers. “I used to try to show off how much work I did,” Stephanopoulos says. “But sometimes it was all wind-up and no question.”

3. Ask “Why?” Ask “What do you do?” at a cocktail party, and people go on autopilot. Ask “Why?” and people give fresher, more thoughtful answers. The same is true for television interviews, Stephanopoulos says.

4. Watch for facial cues. During a conversation, facial cues can indicate if someone wants to say more or less about a topic. For instance, Stephanopoulos says he can tell someone is having a new thought when his or her eyes light up. “You can see it more than you can hear it,” he says. Then, he guides the conversation in that direction.

5. Force yourself to be interested. If you’re bored by the person sitting across from you, your audience will be, too. The key is to find the one thing that does pique your curiosity. Stephanopoulos interviews a lot of actors, but he doesn’t always like their movies. His solution? He finds one scene that he finds remarkable for some reason and focuses on it.
conversations  preparation  George_Stephanopoulos  panels  Communicating_&_Connecting  open-ended  body_language  questions 
october 2013 by jerryking
5 Things Video Games Do Better Than Any Other Forms of Art | Cracked.com
"Whoa, whoa -- video games are an art form now? Well, here's the thing: The first rule of art is "art is subjective," and the second rule of art is "ART IS SUBJECTIVE" (the third rule: "If this is your first day at art club, you have to art"), and thus the tiresome argument that video games aren't art is rather moot indeed. Oh, and video games are an output of drawings, writing, and music put together by skilled humans in a manner designed to entertain/enliven, so there's that, too.

So with that out of the way, being on the verge of a new console generation feels like a good time to file something of a progress report on the art form in question (if only to desperately justify those 147 hours I poured into Saints Row: The Third). So what the hell can games do that books and interpretive dance can't?"
videogames  gaming  srg  edg  play  art  games  empathy  openended  linearity  worldbuilding  narrative  storytelling  understanding  systemsthinking  perspective  linear  open-ended 
august 2013 by robertogreco
Scientific Studies Explain the Best Ways to Talk to Children
"When the children are older, they've learned not to take close-ended questions as literally as younger children do. They are closer to adults, who understand close-ended questions as invitations to tell a narrative. But for most children, close-ended questions will elicit the shortest answer possible. More than that, close-ended questions may even get a child to tell you things they know aren't true. They feel pressured to answer close-ended questions."



"When talking with kids, stay away asking about time. Chances are that they won't be able to tell you when something happened."



"Other Things You Can Do To Make a Child Talk (And Things Not To Do!)

Here are a few other things that studies have shown encourage a child to speak:

• Using the child's name (Hershkowitz, 2009)

• "Back-channel" facilitators like "Uh-huh" and "Oh" (Cautilli et al., 2005)

And a few things not to do:

• unclear invitations like just saying "Tell me more" (Hershkowitz, 2011) or even "Tell me more about that" (Walker, 1993)

• Invitations as questions. This is a huge one for those of us from California. The invitations "You said X. Tell me more about X." can become "You said X?" with the right inflection. That turns it into a yes/no question and will pretty much stop a kid's narrative. (Evans & Roberts, 2009; Evans et al., 2010)"
time  children  interviewing  interviews  taching  parenting  communication  conversation  2013  openended  open-ended 
june 2013 by robertogreco
Five key traits of successful consultants - The Globe and Mail
Harvey Schachter

Special to The Globe and Mail

Last updated Monday, Sep. 24 2012,

Intellectual Capacity

You have to be smart, well-trained and experienced – and have the educational credentials to back you up, be it an MBA or specialized training in your specific field of focus. “Competition for management consultants is likely to remain keen, and those with the most education and experience will have the best prospects,” she writes. Maturity and lots of contacts from a long career can be helpful; younger individuals have youth on their side but should expand their portfolio through as many varied experiences as possible.

Self-Confidence

You must be strong and confident about your abilities, but also low maintenance, ego in check. Although a hired hand for the organizations you work with, you must be a leader, motivating others and working in a collaborative way to nudge clients to solutions they might not have reached on their own.

Moxie

You need courage, energy, vision – and spunk. “It is the capacity to go against the common view, to walk into a room of fractious stakeholders who don’t support the evaluation and don’t want to hear about the findings. It is the ability to land in a strange town at midnight, scrape the snow and ice off your rental car, and locate your motel without the benefit of a map. It is being able to get up the day after you have lost the best proposal you have ever written and start all over again,” she notes.

Adaptability

Your work is defined by the rigid parameters set out by proposals and contracts, but you must still be light on your feet as you operate with the whole world in a state of flux. Try to keep your proposals more open-ended to handle unexpected issues that will inevitably crop up as you progress with your work.

Endurance

Some people enter the field viewing it as a stopgap between paid employment, while others view consulting as offering independence that will be a welcome relief to the stultifying atmosphere in the organizations where they have worked.
ksfs  Harvey_Schachter  management_consulting  self-confidence  personality_types/traits  character_traits  chutzpah  endurance  adaptability  individual_initiative  open-ended 
october 2012 by jerryking
On Adventure Playgrounds & Mutli-Use Destinations | Project for Public Spaces
"Cities are where us “grown-ups” play at leading meaningful and enjoyable lives, so it may be helpful (if anecdotal) to think of playgrounds as the staging areas for the cities of tomorrow. If we want to live in siloed cities, with offices here, houses there, and all quarters safely demarcated by wide arterial roads, we should probably go right on ahead building playgrounds where the slides and plastic tic-tac-toes cower away from each other. But if we want bustling, creative cities full of the surprise and serendipity that makes urban life so enjoyable, we might want to start thinking about playgrounds as microcosmic multi-use destinations.

I think of my favorite public space now, Washington Square Park, and it reminds me, in a way of that schoolyard playground. There are so many different things happening at any given moment: people are playing music, and games, they’re kissing, chatting, taking photos, sunning, jogging, and watching the world pass by. The magic of that park is in its open-endedness, and its mix of these activities. That’s what a great place looks like.

Shouldn’t our playgrounds be great places, too?"
2012  washingtonsquarepark  safety  urbanism  urban  design  adaptability  flexibility  children  playing  play  open-ended  openendedness  cities  playgrounds  openended 
july 2012 by robertogreco
"The jobs at the end of the universe."
3 May 2012 |Financial Times |by Douglas Board.

Messrs Brynjolfsson and McAfee suggest that no matter how fast and smart computers become, 6 skills: statistical insight; managing group dynamics; good writing; framing and solving open-ended problems; persuasion; and human nurturing; will always be in demand....three more common quantitative abilities to be valued at senior levels: making the meaning of numbers come alive either visually or in words; a keen sense for when numbers should be an important part of a story yet are missing; and not being bullied by impressive correlations into assuming causality.
Erik_Brynjolfsson  career_paths  MIT  connecting_the_dots  problem_solving  open-ended  persuasion  statistics  Communicating_&_Connecting  indispensable  storytelling  skills  Managing_Your_Career  21st._century  new_graduates  Andrew_McAfee  numeracy  insights  sense-making  jobs  uncharted_problems 
may 2012 by jerryking
tevis thompson: Saving Zelda
"A world is more than a space, more than a place; it is something to inhabit & be inhabited by. What you infuse a space w/ to make it habitable, to make it memorable (since memory is profoundly spatial), gives the place its character, its soul…

Zelda would be better if it had no story…no plot to structure the adventure…first Zs barely had any plot…were better for it. With plot, sequence matters too much…early Zs had situations, worlds & scenarios that framed action, gaps to be filled in by player, sequences to be broken. Optimal paths & shortcuts weren’t a given; they had to be earned. Items were the most prominent plot devices, & even they were not unduly strict about order. You could be slow & steady or blast straight through with a little know-how…basic rules of the gameworld were what bound you, not some artificial necessity imposed for the sake of plot."

…a world is not for you. A world needs a substance, independence, sense that it doesn’t just disappear when you turn around."
2012  space  play  openendedness  open-ended  autonomy  exploration  memory  spatialmemory  worlds  worldbuilding  nintendo  videogames  gaming  zelda  games  gamecriticism  gamedesign  via:tealtan  tevisthompson  via:robertogreco 
february 2012 by coldbrain
tevis thompson: Saving Zelda
"A world is more than a space, more than a place; it is something to inhabit & be inhabited by. What you infuse a space w/ to make it habitable, to make it memorable (since memory is profoundly spatial), gives the place its character, its soul…

Zelda would be better if it had no story…no plot to structure the adventure…first Zs barely had any plot…were better for it. With plot, sequence matters too much…early Zs had situations, worlds & scenarios that framed action, gaps to be filled in by player, sequences to be broken. Optimal paths & shortcuts weren’t a given; they had to be earned. Items were the most prominent plot devices, & even they were not unduly strict about order. You could be slow & steady or blast straight through with a little know-how…basic rules of the gameworld were what bound you, not some artificial necessity imposed for the sake of plot."

…a world is not for you. A world needs a substance, independence, sense that it doesn’t just disappear when you turn around."

[Update [17 June 2016]:

Revisited thanks to:
"(And Thompson's essay, excerpted in the previous: http://tevisthompson.com/saving-zelda/ )"
https://twitter.com/tealtan/status/754162412484452352

See also:
"Thinking about this but for learning: http://makegames.tumblr.com/post/147367627844/this-is-an-excerpt-from-the-spelunky-book-which "
https://twitter.com/tealtan/status/754162176345210880

"And the ideas of "intentional obtuseness" in Pokemon Go (and Snapchat): https://medium.com/@helvetica/full-thoughts-on-pokemon-go-from-my-interview-on-the-verge-178b97b1112b "
https://twitter.com/tealtan/status/754162625802534912
2012  space  play  openendedness  open-ended  autonomy  exploration  memory  spatialmemory  worlds  worldbuilding  nintendo  videogames  gaming  zelda  games  gamecriticism  gamedesign  via:tealtan  tevisthompson  howwelearn  hyrule  legendofzelda  independence  zpd  howweplay  openended 
february 2012 by robertogreco

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