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John Maeda: How art, technology and design inform creative leaders | Video on

See on – Gabriel Catalano human being | #INperfeccion® a way to find new insight & perspectives TED Talks John Maeda, President of the Rhode Island School of Design, delivers a funny and charming talk that spans a lifetime

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What We Can Learn from Babies: Experimentation, Failure & Creative Genius

The creative process of inventor James Dyson is a startling example. Although Dyson is now one of the wealthiest men in Britain, it took him 15 long years and thousands upon thousands of failed experiments to arrive at his first success. In a Fast Company interview, Dyson explains, “I made 5,127 prototypes of my vacuum before I got it right. There were 5,126 failures. But I learned from each one. That’s how I came up with a solution. So I don’t mind failure. I’ve always thought that schoolchildren should be marked by the number of failures they’ve had. The child who tries strange things and experiences lots of failures to get there is probably more creative.”

As Dyson observes, from an early age, most of our school training encourages us to be risk-averse by rewarding those who deliver exactly what’s expected – rather than those who try something new and dare to look foolish. We are taught to honor rigor and focus over play and experimentation.

Yet, it is these same qualities – playfulness, wonder, and a lack of inhibition – that have fostered the greatest creative breakthroughs. They are also a key ingredient in highly functioning creative teams. Pyschology Today reports that “when teams of people are working together on a problem, those groups that laugh most readily and most often are more creative and productive than their more dour and decorous counterparts.”

Of course, rediscovering the wonder and relentless experimentation of a child is only part of the equation – or, one of the selves we must tap into as creatives. It must be balanced by judicious “adult” decisions about everything from how we focus our energy to what we decide to share with the world.

Essayist and thinker Susan Sontag may have put it best when she described the four selves the artist must inhabit. The first two are clearly connected to an experimental, childlike mindset, while the latter two relate to more adult, executive functions:

“The writer must be four people:

1) the nut, the obsédé: supplies the material

2) the moron: lets it come out

3) the stylist: is taste

4) the critic: is intelligence

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The Chain of Experience: Jobs and Innovation

I enjoy it!

by Stefan Lindegaard

I really like this sentence – the chain of experience – as put forth by Andy Grove in the How to Make an American Job article in BusinessWeek.

Different Forms of Filtering Create Different Forms of Value by Tim Kastelle

Ethan Zuckerman wrote a very interesting post today called What if Search Drove Newspapers? He talks about several different initiatives designed to gauge readers’ interest in different news stories, particularly those that are currently under-reported, and then devising methods for reporting stories on these topics. He asserts (correctly, I think) that this is basically search-driven content development. In particular, this is a strategy that will work well with Google.

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Publicado en by Stefan Lindegaard

Teams innovation – cognitive bias and over-optimism

por jabaldaia

Why design thinking is good for innovation?

According to Tim Brown “design thinking” is to participate in a dance of four mental states :

Divergence – Is the path to innovation, not an obstacle.

Convergence – It is time to eliminate options and make choices.

Analytical – Without analytical forms of thinking would not be possible to understand complex problems.

Synthetic – is the act of extracting meaningful patterns of the totality of information collected.

These four states are not presented in a logical and predetermined sequence. Here is the intuition that is privileged.

When this dance is performed carefully consider that design can help solve many problems, however, Alan Van Pelt says people are predisposed to cognitive bias and to be led by emotions which can contribute to bad decisions.

In other words, not minimizing these cognitive biases dance is like to trod the foot of your partner.

When we are prone to the pitfalls of decision making, when uncertainty is large, this is where design thinking is more useful.

Often what looks like a useful thing becomes an auxiliary of discomfort. The automotive industry is one example as shown Jeffrey Henning by pointing to research by observation as a key to innovation.

The issues highlighted here reveal not only the need for careful observation and allows an analogy not superficial, but also clearly reveal the existence of excess optimism and its consequences.

Being over-optimistic allows innovation to happen.

The delusional optimism makes us cling to ideas more than we should.

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Graphic Design Theory: 50 Resources and Articles

There are a lot of general design theories and principles out there that apply to all forms of design, whether in digital or print mediums. These include things like balance and scale, as well as more abstract topics like emotion and what makes for “good” design.

The Principles of Design
This article from Digital Web Magazine covers the basics of design theory, including balance, rhythm, proportion, dominance, and unity. It’s fully illustrated and makes each principle easy to understand.

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Graphic Design Theory: 50 Resources and Articles

As designers, we often focus on the practical aspects of design above all else. We focus on what works, with little regard for why it works. And in our day-to-day work, that outlook serves us well. It lets us get our work done in an efficient, professional manner, and generally nets good results.

But spending some time on the theory behind the graphic design principles we use every day can expand our design horizons. It can open up new avenues of creativity and experimentation that can lead our designs from just good, to fantastic. On that note, below are 50 excellent resources and articles that discuss graphic design theory, including layout, color theory, and typography.

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