• 2014-08-29

    感慨呀 - [足迹影像]

    好多年没上blogbus了,原来这片土还在呀!
    Tag:
  • Granting Permission to Innovate

    by Tim Brown

    I’m thinking about the notion of strategic resilience. In the face of growing unpredictability, how do we provide ourselves with appropriate options for the future? How do we leverage the increasing interconnectedness of our markets without becoming victims of those connections? Singular, one-dimensional strategy is now outdated and risky. From a biological perspective, resilience means having multiple options for survival. Species that can emerge to address a need, for example, make ecosystems resilient.

    Certain companies—the big examples are Amazon, Apple, and Google—have avoided the one-strategy trap by relying on what I think of as “permission to innovate.” They’ve magnified anticipation of and tolerance for innovation among their customers, partners, employees, and stockholders and managed to sustain it over time. Permission to innovate makes these companies tremendously good at deploying multiple strategies for growth. It allows them to create credible offerings in adjacent markets and to be forgiven for and learn from mistakes. Look at the iPhone 4, which despite its problems is the best-selling phone Apple has ever made and is highly anticipated in China and other new markets. That’s because everyone knows there will be an iPhone 5. Marketing alone can’t explain such an advantage—it stems from what a company is and what possibilities it creates for consumers.

    When people talk about building a culture of innovation, they tend to focus on what’s happening inside a company—and that’s clearly part of it. At IDEO we’re looking at how to build our clients’ capacity for continual innovation through organizational design. But permission to innovate also involves the culture an organization creates out in the world.

    How should we assess a company’s permission to innovate? Could we create a brand innovation quotient—a set of measures that, taken together, would allow us to value a company’s capacity to innovate consistently? It would be interesting to quantify the extra market value gained from the anticipation of innovation. We could look at less-direct benefits as well, such as the effect on a company’s ability to attract the best employees. In the past we’ve struggled to find effective measures for innovation and growth. I believe in the notion that what you can’t measure you can’t get better at. So we need to get the metrics right.

     

    Tag:
  • 如果将时间简单划分,只有过去,现在,未来。这款手表独特之处正在此。

    时刻告诫人们,珍惜此刻!

  •    一眼看这钟没什么特别,再多看第二眼才看出来,数字颠倒过来了。为什么题目却是:这个钟没颠倒呢?

    原来,这只钟是专为日夜颠倒,经常通宵熬夜的夜猫子设计的。这款特别的的钟能否把夜猫的生活调整到正常状态呢?那就见仁见智了!

  • 2009-11-29

    木偶戏 - [足迹影像]

      夜色降临,锣鼓色响起,这让几乎沉睡的村庄增添了难得热闹的气氛。这场在儿时常常盼望的木偶戏很难得在阔别十几年后又遇上了!

      木偶戏在当地也叫“鬼仔戏”,也就是“傀儡戏”。以前一直是在七农历七月十四会有村里相对比较富有的人请民间戏偶团演出,目的仅仅用于“娱乐神灵”。而现在通常会在农历八月十五开戏。

      记得儿时,每每得知有鬼仔戏演出,就会早早到村口等着那台戏班的“小卡车”,迫不及待地想摆弄车上整整几大箱道具。高大的戏棚会搭在晒谷场上,那是在我们的心目中就相当于一个很大很大的广场,可以容下全村人。到时会有一些小贩在戏场外围卖小吃,小孩们三五成群地在玩耍。而真正看戏的当然除了神灵外,听得最认真的算是那些上了年纪的老一辈。在乡下这是仅有的娱乐节目,

      所谓的戏棚仅仅是几根拳头大的木杆搭起两米左右的简陋的木棚,红绸背景一拉,把木偶再往架子上摆。一盏电灯,一个扩音器,锣鼓摆在旁边。戏就可以开锣了。(当然戏班艺人得清清桑子,因为一唱就得是三四个小时

      戏台前面会挂上一个小黑板,上面写着当晚戏名“富贵双全”,赞助人的名字。经过一番打听,戏班收费以小时算,45元/小时。也就是说200元就可以请戏班艺人唱一个晚上。戏班五个人,收入人均约是三十多块每晚。即便几十块钱,对于低收入甚至几乎是零收入的乡下人,也不会有几个人会愿意出这个钱。由于演出费用很低,戏班里五人有三个是六七十岁的老人了。木偶戏文化也跟着他们一起渐渐老去。十几年后,剩下会唱的也就没几个了。

     

      幕后一字排开的木偶角色,听说今晚会有26个角色出场。