Category: Co-creation

Co-creation practices and case studies

Business model innovationCo-creationCulture changeInnovationInnovative culture

Building a culture of innovation: key attitudes

Besides the building of a collaborative culture, destinations 3.0 need also to create a culture of innovation, where not only openness to new ideas is a key shared value, but also the aim for integrating new concepts and approaches into the model is encouraged and all stakeholders are empowered to participate in the innovation process. Managers and employees broadly agree about the values and behaviors that foster innovation.

In accordance with our research, the top attitudes are openness to new ideas and a willingness to experiment and take risks. In an innovative culture, people know that their ideas are valued and believe that it is safe to express them and act on those ideas, and to learn from failure. Leaders reinforce this state of mind by involving employees in decisions that matter to them.

It is broadly thought as well that organizations usually have the right talent or most of what they need, but that the corporate culture is the main inhibitor that prevents them from innovating. Defining and creating the right kind of culture is therefore a must to increase the prospects for successful and sustained innovation.

The top two motivators that promote innovation within an organization are strong leaders who encourage and protect it, and top executives who spend their time actively managing and driving it. Further, an innovation friendly organization should rather have a horizontal hierarchy, allowing all employees and partners to easily access leaders, who are to inspire and influence them through role modelling as disruptive innovators to open their mindsets towards a new set of attitudes:

  • Questioning by allowing them to challenge the usual assumptions and the status quo to consider new possibilities: What has changed with our stakeholders, or the world at large? What assumptions are we still making about our business that may no longer be valid”?
  • Observing how things work in other kinds of businesses, which opens your mind to new possibilities. It also enables you to spot new patterns and connections that others might not see – a critical factor for successful innovation.
  • Networking and permitting to gain radically different perspectives from individuals with diverse industry or cultural backgrounds. Connecting with different realities is critical to open one’s mindset, and this is a necessary step towards fostering an innovative culture.
  • Experimenting and testing new ideas. Resisting time pressure for quick solutions is the first step, so it is better to think about new solutions before time is pressing. Once the underlying assumptions are challenged, it’s time to try new combinations and procedures.
  • Associational Thinking— drawing connections between questions, problems, or ideas from unrelated fields—is triggered by questioning, observing, networking, and experimenting, and is the catalyst for creativity.

Beyond these key attitudes to ingrain in order to foster innovation, an upcoming blogpost is to explain the key strategies to deploy in order to make that happen.

This article is from the Whitepaper “Building a culture of collaboration and innovation” written by Jordi Pera, Founder and CEO at Envisioning Tourism 3.0 Ltd. You may download for free the full Whitepaper at www.envisioningtourism.com/whitepapers

Business model innovationCo-creationInnovationInnovative cultureMarketing 3.0

Ferran Adrià + Cirque du Soleil: a creative collision brings a paradigm shift in entertainment and cuisine

When creative minds collide, the most innovative outcome could be expected. Especially, if partners share common passions, values and a craving for challenges. For more than 10 years, the world-famous chefs Albert and Ferran Adrià and Guy Laliberté, founder of Cirque du Soleil, have been sharing ideas on the concept for a new space meant to be a paradigm shift in the world of entertainment, cuisine and art. The result is an international and multidisciplinary project called HEART, which finally has opened doors this summer on the Spanish island of Ibiza.

Certainly, Adrià brothers need nobody to open successfully any new restaurant concept. Neither Cirque du Soleil required anyone else to offer once more a new and unique high-quality artistic entertainment. Albert and Ferran Adrià can be regarded the most well-known brothers in the world of gastronomy, spirit and soul of restaurant elBulli, considered a before-and-after of modern cuisine. Since its beginnings in 1984, Cirque du Soleil shows have thrilled close to 150 million spectators in over 300 cities on six continents.

But HEART seeks to explore what happens when food, music, and art collide and exploration is something you are always better doing accompanied. Secondly, if you excel in one of the components of a mix, why not to look for somebody else that also stands out in the rest of the ingredients? Of course, there is also the multiplier effect of co-branding two well known and highly appreciated names in their respective areas (a good idea even considering not just companies but also personal brands, as we have already seen in some other cases)

The creative partnership is born with good signals. At least as a Co-project. Over the years,  el Bulli was always an incubator for new ideas anyway. Adrià brothers are already embarked in some others projects, most of them involving somehow a “creative collision” too. In addition to shows, the Cirque du Soleil Group is already used to extend its creative talent to other spheres of activity. It is expected then to bring to HEART the same energy and spirit that characterize each of its shows.

This article is from  www.co-society.com/ferran-adria-cirque-du-soleil-creative-collision-brings-paradigm-shift-entertainment-cuisine

Co-creationCulture changeInnovationInnovative cultureMarketing 3.0

The Impact of Social Media on Creativity

GigaOm recently published a great piece on discussing the impact of social media on creativity, citing the John Mayer’s tribulations with Twitter as their prime example:

http://gigaom.com/2011/07/19/does-using-social-media-interfere-with-creativity/

Although I definitely think a discussion around “distraction” is worth a few sentences, I don’t think it’s fair to make blatant statements about social media and creativity. Creativity can be inspired by the most unexpected of things. Perhaps it’s less so for musicians, but as a writer I often find inspiration in the most unlikely of places including tweets and status updates. One could argue that reading is not the same as posting and I would agree but there are many times when posting triggers responses that provide inspiration. I also conjecture that distraction is not necessarily a bad thing for art either.

There are times when focus is needed. I don’t want people talking at me or email dinging or tweets flying when I am head down on a piece. But there are other times when the distraction is welcome, when the creative process has stalled enough that distraction can provide the impetus to new inspiration. What is interesting about GigaOm’s piece is Mayer’s fixation on distraction. It became the primary focus rather than the distraction (perhaps his songwriting and tweeting switched places, and songwriting became the distraction).

Regardless, that is an individual artist’s issue, not necessarily an epidemic for artists as a whole. In fact, one would begin to wonder if John was looking for a way to avoid his art and saw Tweeting and social media as an easy distraction. But social network does embody something very intrinsic to the artist: the need to be at the center of things. Although some artists may not agree, saying they produce art for art’s sake, I argue that’s a rouse. The only point of art is for people to enjoy and appreciate it and, by doing so, the artist. If people are listening to your songs, what’s the point of writing them? This need to be loved, to have the attention of people, is endemic to the artist’s condition, his reason d’etre.

Unfortunately, as I have written before, being an author (or artist) will be tougher as time goes on because getting the attention for one’s art will become more difficult in the constant flow of tweets and status updates. That will require artists to adopt new means of connecting with their fans (i.e., social networking) especially when there will be fewer opportunities for traditional media promotion (i.e., agents). It may be interesting to see the rise of “social networking managers” to help the artist deal with and manage their tweets and other social feeds. This new requirement to connect with fans to promote art is simply another aspect of the “business” of being an artist that needs to be managed accordingly.

Social networking, as a whole, thought is a distraction to life. It interrupts work, it interrupts thoughts, it interrupts conversations and television shows. But it poses no more a threat to creativity than any other form of distraction including all of the other business aspects of being an artist (or at least trying to make a living at it).

www.rethinkeverythingblog.com/2017/12/20/the-impat-of-social-media-on-creativity/

Co-creationCollaborative business modelsCollaborative cultureMarketing 3.0Tourism marketing

How to Involve Locals in Destination Management & Marketing

In today’s tourism marketing world, all buzz is around discovering a destination like a local. If you search for “travel like a local,” you will find countless articles and websites trying to help travelers discover destinations through a different perspective. As an avid traveler that loves to escape tourist traps, I appreciate destination marketing organizations trying to help me connect with recommendations from people who live in the destinations I want to visit.

I think this is why Airbnb.com and the sharing economy are taking off, not just because it provides a different type of accommodation, but because it connects visitors with locals. One of the benefits of staying at an Airbnb.com property is the ability to meet a local to give you recommendations for what to do, where to eat, and how to experience the destination away from the hop-on, hop-off tour buses. Who doesn’t want this type of local knowledge when planning a trip to an unknown destination?

The challenge for destination marketing organizations is how do you get locals involved and willing to share their recommendations with visitors? Destinations like Philadelphia, are launching programs called “Philly like a local” – Experience Philadelphia as its residents know and love it,” which recruits locals to take over the DMO’s social media accounts. But taking that approach to scale and getting hundreds or thousands of locals involved in a program to answer the question “What is so special about my place?” is not an easy task……unless you have the National Geographic Society on your side.

We have been very fortunate to work alongside National Geographic for the last 7 years helping destinations apply an approach to sustainable tourism development called Geotourism. A concept created by Jonathan Tourtellot, geotourism encourages destinations to develop and market tourism products that sustain and enhance the geographical character of a place—its environment, culture, geology, aesthetics, heritage, and the well-being of its residents.

The Geotourism approach is unique among tourism development solutions due to its focus on the establishment and empowerment of a private-public partnership that serves as a forum for dialogue, collaboration, and planning among local businesses, non-profit organizations, residents and tourism authorities. The goal is to better manage challenges through cooperation while also identifying, sustaining, enhancing, and promoting the destination’s unique assets.

As a tourism development and marketing professional working in the field for more than a decade, I can tell you that bringing stakeholders together to participate in a tourism development and marketing program is hard work. Every one of our projects involves some type of stakeholder engagement process to plan and implement destination and marketing programs, but getting government, businesses, and residents to come together for a meeting or complete a task is extremely difficult.

This all changes when National Geographic is part of the program. The power of that yellow logo is incredible. People all over the world admire the brand immensely and jump at the opportunity to collaborate with such an respected organization. With the mission of inspiring people to care about the planet, they are extremely effective at getting locals engaged in caring for their destinations.

James Dion leader of the Geotourism program, kicks off every project with a public launch announcing the program. This brings together businesses, politicians, residents, and media to learn about the program and how they can be involved. After the public launch event, local residents are encouraged to visit a National Geographic co-branded website to nominate a business, place, attraction, or event that is an authentically local experience. This event and program generates incredible media attention at a local level, helping further distribute the call for participation from locals.

We are currently in production of a U.S. Gulf States Geotourism program supported by national, state, and local partners to raise awareness of the unique cultural and environmental experiences in Louisiana, Mississippi, Alabama, and the panhandle of Florida. We are working to rebuild the area’s allure following the 2010 Gulf of Mexico Deepwater Horizon oil spill that caused a devastating economic impact on the region.

Through local events and media outreach led by our local consultants, the program is generating incredible media coverage, which in turn has inspired over 1,000 nominations (and counting!) from locals for the Geotourism MapGuide. Once the nomination period closes, National Geographic’s team of cartographers, editors, fact checkers, and designers will work with the local public-private partnerships created at the beginning of the program to finalize the MapGuide and prepare for a public roll-out.

In summary, getting locals involved in destination marketing and management is not only a wise approach to ensuring a destination maintains it’s sense of place, but it also is a great way to help visitors discover the hidden gems of your destination. Here is some of the most recent media attention generated from the U.S. Gulf States Geotourism program. It’s just one great example of how the program effectively brings people together and generates immediate excitement.

Alabama to be part of National Geographic geotourism project – Your Town Alabama

Residents encouraged to nominate areas for geotourism – The Selma Times-Journal

What’s special about Columbus? Nominate your pick for National Geographic map – The Dispatch

National Geographic launching locally built travel guides in BP oil spill states – The Time Picayune

Louisiana selected as part of National Geographic’s Geotourism interactive map – WAFB News

Let National Geographic help you – Natchez Democrat

Your authentic Florida location belongs in Nat Geo’s geotourism guide – Visit Florida

Alabama Gulf Coast site nominations sought for Geotourism MapGuide – AL.com

Massive geotourism project underway in U.S. Gulf Coast States – Destination Stewardship Center

This blog post is from www.solimarinternational.com/resources-page/blog/itemlist/tag/Destination%20Management?start=10

Co-creationCollaborative cultureCulture changeInnovative cultureOpen innovation

Shared decisions feel better

 “The social networks potential to turn every citizen into an agent for the improvement of the community is huge” says Alfons Cornella –Spanish Innovation leader- in his book “The solution starts by CO”.

During the last few years it has become fashionable that destinations outsource part of their promotion activities to visitors and local community members. In what could be called co-creation processes, many destination management and promotion bodies have decided to celebrate public elections to select their logos and slogans. In this election there is first a period to receive proposals, and at the end of this period the public election takes place.

At first it may sound very open and transparent. So long as both the logo and the slogan are to become key elements of the destination image, it is good that everybody can express their opinion about it. However, this system may entail some risks. Those who vote probably choose their vote according to purely esthetic criteria, without considering aspects related with the value promise of the destination, or its desired positioning, the targets, etc. As a result of these processes there have been some bad experiences.

The main issue is that the chosen logo and/or slogan should be in accordance with the destination strategy, which is usually defined in a Strategy Plan according to the destination leaders’ criteria. It is therefore necessary to introduce a filtering phase either before or after the public election, to discard all those logos and slogans that do not match with the destination strategy.

In Spain there has been mainly one experience of this kind, in the Basque Country, driven by the Bilbao City Council and the Bizkaia Province Government. These two institutions had been collaborating for a long time, up to the point that they shared a stand in the FITUR Tourism Fair under the brand BI2. In this way, they wanted to leverage the power of the Bilbao brand to favor also the rest of the Province, so long as the Bizkaia brand is far behind in terms of awareness, despite the worthy resources it has. Bilbao, in turn, has experienced a transformation thanks to the Guggenheim effect and the public-private collaboration, which has led to a sustained visitors’ growth in the city.

Deepening in this collaboration line, they have launched a contest to select their new common logo and slogan. In this case, they opened a public contest for professionals under a detailed briefing. As a result of this idea contest, they received up to 84 proposals from 7 different countries. They were all exposed to the public, though the first selection process was carried out by a commission of experts to present 10 final proposals to be voted for by the public. To facilitate participation, they have installed 6 voting points to let locals vote for their favourite choice.

However, the citizens’ votes will count for only 20% of the final decision. The rest will be responsibility of the experts committee led by Garry White, President of the European Cities Marketing Association.

What do you thing about letting the locals vote for strategic decisions of high symbolic value?

This blogpost is from  http://www.visionesdelturismo.es/las-decisiones-compartidas-saben-mejor/

Co-creationCollaborative business modelsCollaborative cultureInnovative cultureMarketing 3.0

Making collaboration efficient when face to face is not possible

As it has been explained in many posts, content and product co-creation is in the core of Marketing 3.0, though to leverage a significant share of the stakeholders’ creativity potential it is necessary to think of virtual co-creation methods, to complement co-creation workshops and other face to face activities. However, beyond the technological tools such as video-conference, it is necessary to know how to manage virtual co-creation. This article provides many clues to do so successfully.

Started as a simple experiment in social media, in 2010 composer and conductor Eric Whitacre called out to his online fans to record themselves singing “Sleep” by the British choir Polyphony and upload the result. Impressed by the result, he decided to push the concept to the next level by recording himself conducting ‘Lux Aurumque’, then asking fans to sing along to that. This way, the first Virtual Choir was created. The results of that experiment quickly became viral. Now with more than fifteen million views, the Virtual Choir phenomenon has reached all corners of the world, inspiring more and more singers to join each year.

Beyond its beauty and emotional impact, Virtual Choir also fascinated because its implications regarding the potential new uses for new communication technologies and as one of the first virtual experiences turned into something real. The Virtual Choir can also be considered as an important remainder for how businesses might overcome the challenges of virtuality to benefit from innovative and more efficient business processes, customer relationships or forms of production, from co-innovation and co-production to crowdsourcing, crowdfunding or open source.

Not even leaving the limits of a corporation or a company, working remotely can offer operational flexibility, happier employees and lower costs, but to team up virtually with colleagues and coworkers can also pose important challenges. As we know, truly efficient collaboration presents no few difficulties. Virtual collaboration raises even more added complications that require even more care. But as the concept of the extended enterprise becomes more common and most professionals can do their jobs from anywhere, the more critical becomes to get virtual teams right. But how?

Getting right four pillars for virtual collaboration

The answer is not easy. Different studies carried out during the last decade seem to conclude that most of virtual groups fail to satisfy the expectations of companies and their clients. In another study conducted by Deloitte some years ago most of CEO’s and other managers interviewed still considered face-to-face interaction much more productive that virtual communication, and nearly half of them admitted ignorance and confusion about collaboration technologies and their potential.

But some other experts consider is all about how these teams are managed. An Aon Consulting report found that dispersed teams, when run accordingly to this condition, could outperform those sharing the same office space (recording up to 43% higher efficiency). A study of 80 global software teams conducted by BCG and WHU-Otto Beisheim School of Management concluded that virtual teams can improve employee productivity when they are properly managed.

But, what do they mean by “properly managed” or “run accordingly to its virtual condition”? According to Keith Ferrazzi and based on his research and experience helping all sort of organizations as customers of his consulting firm, there are four critical elements to get right: right teams, right leadership, right technology and right touch points.

Size is important (the smaller, the better)

We have recently wrote in this blog about how important is to consider people mindset and attitude for working collaboratively beyond their professional knowledge and other skills. Ferrazzi agrees people should first of all be specially suited to work in virtual teams, backing for instance profiles with good communication skills or high emotional intelligence. But it is also equally important to put them into groups of the right size and implementing and clearly establishing and communicating the right roles for each one.

As we know, smaller groups facilitate collaboration. In the case of virtual teams, size should be even smaller than when face to face interaction is the norm (some studies suggest teams of 5-6 people and no more than 10 in any case). Team members reduce effort when they feel less responsible for output, but this fact can equally be applied to non-virtual teams. Collaboration between people not sharing a physical space should pay special attention to ensure inclusive communication, a quality harder to achieve the bigger the virtual group is.

Good leadership amplified

Managers can maximize the productivity of virtual teams also by developing the right leadership. Again, this is a quality to apply to every teamwork, no matter if virtual or not. But right leadership must be amplified in virtual ones. A study of different engineering groups concluded that the virtual teams that performed best were those with managers with previous experience in leading such work groups.

Encouraging open dialogue, for instance, is particularly important in these cases. Leaders of dispersed groups in particular must push members to be frank with one another as the problems associated with lack of affinity are more common and severe for virtual teams. For similar reasons, virtual collaboration requires an extra effort fostering trust among co-workers. Ferrazzi mentions the case of a fully virtual organization that encourage new hires to offer video tours of their work spaces, allowing colleagues to mentally picturing their surroundings in later communications. Managers also push their team members to share personal news as a way to compensate the lack of the common chat about their lives that usually takes place sooner or later when a physical office is shared.

Special care is also recommended about clarifying goals and guidelines and establishing a common purpose or vision (explaining and repeating often the reason of working together and the benefits that will result of that). Particularly vital in the case of virtual teams are guidelines about interaction between members. For instance, multitasking on conference calls should be banned, as full attention is needed when using communication technologies that are not able to fully replace the subtle signals of personal interaction beyond a voice.

Not leaving it all to virtuality

Fostering touch points is also critical. Virtual teams should come together as often as possible. To do so, some specific stages of the working process are more important than others. Kickoff should be one of these for sure, using a first face to face meeting to star working in some of the key points mentioned (clarifying team goals or encouraging trust, for instance). If any proper project management establishes milestones, when dealing with virtual team leaders can leverage them to get people together for celebrating achievement of short-term goals or cracking problems.

And last but not least, efficient virtual collaboration also depends on using the right technology. According to Ferrazzi, even top-notch virtual teams can fail due to poor technology. In this case, recommendations are not so much about detailed features as about fulfilling general needs especially critical in the case virtual interactions. For instance, facilitating automatic transcriptions or records with a simple click, making easy to search for this content in a database or, while using the right tool for each mission, favor technologies that better help to reproduce face to face interaction (videoconferencing instead of a phone call, for example).

This post is from http://www.co-society.com/making-collaboration-efficient-face-face-possible/

Co-creationCulture changeInnovative culture

The kind of leadership that is music for our ears

Symphony orchestras are the paradigm of traditional autocratic driven organizations, where creativity is severely constrained, thus impeding the musicians to unfold their talent to the utmost. However, Chamber orchestras are a good example of how a smaller group of talented members can cooperate while having free reign to develop their creativity, under a very different leadership style. This article explains a case study that illustrates how Chamber orchestra leadership is appropriate for creative collaboration.

When cellist Julian Fifer graduated from her music studies in 1972, the prospect of becoming another member of a symphony orchestra seemed depressing in the extreme to her. Active in several movements of those counter-culture days and having tasted the freedom of playing chamber music, she was well aware that the role of the music director remained a bastion of totalitarianism and, as organizations go, few were more autocratic in structure than the traditional symphony orchestra.

So she decided to create Orpheus Orchestra as a co-operative 15-members ensemble. That was small enough to perform without a conductor. But it was precisely this innovative approach what attracted other talented like-minded musicians, as well as more concerts and gigs. Suddenly it was obvious that some hierarchy was necessary to reduce complexity and speed decision-making. But this leadership was not to be found by having a conductor, so a new collaboration methodology started to take place.

Today, this methodology is been dubbed as the “Orpheus process”, a process based in some elements that can inspire us when trying to establish a new more collaborative way to work together, the kind of methodology needed for a successful collaborative environment not just to work with some other companies but also internally within our own organization between different units, departments or roles.

The orchestra analogy is not trivial. It turns out orchestral musicians usually rank in the lowest levels of job satisfaction according to different studies on attitudes in the workforce (in one of these studies they even ranked below prison guards). Even under the most benign music director, the creative life of symphony orchestra players remains considerably constrained.

So we have this contradictory context between the need for passion/creativity and systems based on a hierarchical organizations designed to suppress both for the better good of “efficiency”. A contradiction that can also be applied to the most important kind of employees organizations need today and will crave for even more in the future, the kind of employees less possible to be replaced by a robot or a software, the ones adding their passion and creativity as key competitive elements for certain business activities, the ones therefore who will most likely experience a disconnect between their passion for their chosen field and their creative impulses, and not having those things engaged within the fixed, subservient roles of their workplace.

Innovation and collaboration are some of such key business activities. We all already know great ideas don’t depend on hierarchy or seniority, they don’t depend on a pyramidal organization but on a network of enough passionate and creative participants engaged in solving a challenge and, willing to put an important part of their egos aside during the process.

In summary, the process of an orchestra without a conductor producing wonderful music offers a metaphor for us to gain some insights as to how we can improve our process and methodologies for collaboration and co-innovation…

Size matters. Four or five people can easily discuss matters as equals. Some kind of leadership is necessary when bigger groups not just make collaboration more complex, but create a chaos in which it is also more difficult for each member of the group to have a meaningful impact.

Leaderships can be occasional. The Orpheus Orchestra works with occasional leaderships restrained to a particular project. They devised a system of rotating leadership revolving around a “core” of musicians elected for each piece by the musicians themselves, and a concertmaster (chosen for each piece by a committee of orchestra members) that has special responsibilities, as bringing focus and shape to the musical interpretation.

Leaderships are not about “all or nothing”. At the Orpheus Orchestra some teams form and disband from project to project, but others are longer range and involve larger artistic and administrative duties. Contrary to most of orchestras, they do not have a single artistic director but three coordinators (elected by members) who develop different roles usually hold by just one person.

Absolute power is bad even for the leader. There is a benefit in sharing power. To be leader all the time could be terribly stressful (therefore not good for taking the right decisions). By rotating between numerous positions, members of the Orpheus Orchestra can use a wide range of their talents and pursue different interest in addition to the highly specialization of playing their instruments.

Success is the best antidote for deniers. “At the beginning, there were probably only a couple of nuts in the orchestra who would consider that we could ever do a Beethoven symphony without a conductor. After 10 or 12 years, there may have been a few more people who thought we might have been able to tackle it”, explained violinist Ronnie Bauch, one of the first members of the Orpheus Orchestra.

What You Can Learn About Collaboration and Leadership From a Chamber Orchestra

This blogpost is from  http://www.co-society.com/kind-leadership-music-ears

Co-creationCollaborative business modelsCollaborative culture

Essential reads about collaboration

Collaboration has been on the spotlight of business literature throughout the last years, and so it is difficult to make a good selection when searching for good literature on business collaboration. This article proposes 3 outstanding books that will help you get further insights on this issue.

The Silo Effect

From award-winning columnist, journalist and senior editor for the Financial Times Gillian Tett, The Silo Effect shows the importance of cross-disciplinary and cross-cultural collaboration for organizations to succeed. It also shows how the lack of this collaboration sends organizations into deep trouble. Probably this is the book on collaboration with the most interesting case studies.  Readers will find cases of organizations getting collaboration right but also of those felled by the lack of it. Specifically, the book includes eight different tales of the silo syndrome: Bloomberg’s City Hall in New York, the Bank of England in London, Cleveland Clinic hospital in Ohio, UBS bank in Switzerland, Facebook in San Francisco, Sony in Tokyo, the BlueMountain hedge fund, and the Chicago police.

Beside the cases, the book also includes some specific suggestions on how some people and organizations can break those silos down to unleash innovation. Author Gillian Tett’s background in anthropology is present when she examines our tendency to create functional departments (silos) or when she answers questions as why do humans working in modern institutions collectively act in ways that sometimes seem stupid, or why are we so often “blind to our own blindness”.

An interesting twist to highlight. Tett does not consider silos as the “evil” player to eliminate. She recognizes silos can also be beneficial, especially in a world as complex as it is today. Silos in the business world can indeed be uniquely valuable containers in terms of organizational efficiency and productivity. But they can also be, of course, major barriers to communication, cooperation and, especially, collaboration. So essentially everything comes to know how to get their benefits but also avoid or prevent their downsides. And Gillian Tett explains how.

Collaborative intelligence

Collaborative Intelligence is the culmination of more than fifty years of original research that draws on Dawna Markova’s background in cognitive neuroscience. Markova and her “Professional Thinking Partner” Angie McArthur are experts at getting brilliant yet difficult people to think together. They share a consulting practice in which they serve as “thinking partners” to clients who need insight in how better to achieve synergistic collaboration within their firm, a group of “patients” that includes some of the world’s top CEOs and creative professionals.

Rooted in the latest neuroscience on the nature of collaboration, Collaborative Intelligence offers tangible tools for those serious about becoming ‘system leaders’ who can close the gap and make collaboration real. This book is full of practical guidance to help the reader to discover his or her own “CQ” or Collaborative Intelligence Quotient. As explained in the book, each individual has a characteristic way of processing cognitive challenges (Mind Pattern), depending on the kind of attention that their brain utilizes: Focused attention, Sorting attention and Open Attention. There are also three languages of thought (Auditory, Kinesthetic and Visual).

Markova includes many worksheets and questions that readers can use to determine not only their own patterns, but those they work with as well. There are also plenty of tips on how to maximize that pattern for effectiveness in personal work and in collaboration with others. Subsequent chapters demonstrate how the knowledge of these languages and triggers can be used in building teams and in optimizing team interactions.

Collaboration begins with you

Collaboration Begins with You focuses on helping leaders at all levels to create and develop a culture of collaboration. Bestselling author Ken Blanchard and his co-authors show that busting silos and bringing people together is an inside-out process that involves the heart (your character and intentions), the head (your beliefs and attitudes), and the hands (your actions and behaviors). From authors’ point of view, clearly none of these “parts” can function without the other. You need your heart, head, and hands to bring about change and build collaboration with others.

An important fact for those who prefer novels to essays. Authors use the business fable as a format to explain a story about creating a collaborative atmosphere in a company, with a main character who is the leader of a cross-department project that fails because the units involved are too competitive with one another. The solution, he learns, is to shift his and other’s heart, head and hands toward collaboration.

This article is from  www.co-society.com/summer-time-reading-collaboration/

Business trendsCo-creationCollaborative cultureInnovationInnovative culture

Teaming up with customers & fans to co-innovate

As explained many times in this blog, engaging customers and turning them into fans, contributors and brand ambassadors is one of the key success factors of destinations 3.0. One recent case within the entertainment sector showcases how co-innovation with fans can lead to fruitful results.

Even if the concept of costumer centric business is still often more of a marketing trick or organizational aspiration than a reality, increasing competition is making brands truly getting closer to customers. Some others are even going further: they are putting them at the heart of business decision-making.

When it comes to innovation they’re even asking them for help with the process, not just simply using them to provide insight. Consumer-led creativity does exist. Consumers are a huge and largely untapped source of creativity and innovation. Customers are already creating value and solving problems without any encouragement from commercial organizations. Why not trying to tap into it?

Co-creation workshops can help businesses pool ideas from participants and turn these insights into tangible prototypes that can be evaluated in real time. We could recently prove it once more when asked by F.C. Barcelona to lead its first co-creation workshop with members of the football club in order to work together in a process of proposals and ideas. Using the context of the recent Mobile World Congress, fifty F.C. Barcelona supporters between 18 and 40 years gathered in a workshop named ‘Smart & Mobile Connection Future’ to propose ideas linked to technological applications that could facilitate the living and sensing of everything the sport club is offering to its members, supporters and fans in the stadium and sports events.

After a few speeches introducing the vision, mission and methodology of the workshop by some innovation experts, the supporters were divided into small groups to encourage their participation, which resulted in a great deal of ideas related to the use of new technologies in the Stadium and the sporting events. Contributions and needs identified were numerous. For instance, it was proposed to make possible to watch game replays on the phone or tablet at the Camp Nou stadium itself in real time; and apps to order sandwiches and drinks from seats during the game or to access to information about public transport and traffic around the stadium. Some other proposals pointed to be able to carry a digital version club’s member card in smartphones that could also be used for mobile payments at shops and restaurants linked with F.C. Barcelona.

Co-creation workshop ‘Smart & Mobile Connection Future’ is part of a transversal innovation program started late last year with the aim to identify problems and opportunities for the organization and resolve them through new projects or ways of working. Some other workshops like this are coming soon and will be related to other areas of the club.

This article is from www.co-society.com/teaming-customers-co-innovate-even-better-fans-youre-lucky

Co-creationCollaborative business modelsCollaborative cultureCulture changeInnovation

Presidential Innovation Fellows: Co-innovating with (We) the People

As it has been explained in the posts about destination models 3.0, these intend to leverage the intelligence, creativity, initiative and influential power of all its stakeholders from the outset, not only in product and content co-creation, but also up to the business model innovation. In this regard, considering the Destination Management Organisation (DMO) as the destination’s government from the planning and management perspective, some governments are developing innovative practices in this direction, which should inspire also the destinations’ governance organisations.

Some governments are trying to lessen political apathy by engaging citizens in crowdsourcing initiatives for a variety of areas of innovation and decision taking on public affairs. But besides the attempt to prevent further public institutions disaffection, those governments tapping into the knowledge and abilities of citizens are also discovering the benefits to reach beyond the usual experts to expand and diversify the talent pool tackling a problem.

U.S Government and more specifically Obama administration has been especially active in government-driven crowdsourcing competitions and collaborations. Across government, all sorts of agencies are implementing hundreds of crowdsourcing approaches, citizen science programs, and other efforts that have brought the best ideas and talent together to solve mission-centric problems. Last year alone, Federal agencies ran over 85 prize competitions, from small-dollar prizes to winnings of $100,000 or more.

The Presidential Innovation Fellows (PIF) program brings the innovation economy into government, by pairing talented, diverse technologists and innovators with top civil-servants and change-makers within the federal government to tackle some our nation’s biggest challenges.
This program brings the principles, values, and practices of the innovation economy into government through the most effective agents of change we know: our people. This highly-competitive program pairs talented, diverse technologists and innovators with top civil-servants and change-makers working at the highest levels of the federal government to tackle some our nation’s biggest challenges. These teams of government experts and private-sector doers take a user-centric approach to issues at the intersection of people, processes, products, and policy to achieve lasting impact.

Fellows selected for this unique, and highly-competitive opportunity serve for 12 months, during which they will collaborate with each other and federal agency partners on high-profile initiatives aimed at saving lives, saving taxpayer money, fueling job creation, and building the culture of entrepreneurship and innovation within government. As stated in its website, PIF offers to talented individuals from diverse backgrounds “the unique opportunity to work on truly awesome projects with the potential to make a positive impact, with a user base of more than 300 million Americans.”

About the Fellowship

The Presidential Innovation Fellows (PIF) program was established by the White House in 2012 to attract top innovators into government, capable of tackling issues at the convergence of technology, policy, and process.

The PIF program is administered as a partnership between the White House Office of Science and Technology Policy (OSTP), the White House Office of Management and Budget (OMB), and the General Services Administration (GSA). In 2013, the PIF program established a permanent home and program office within GSA.

Program Details

The Fellowship is a 12-month program, during which Fellows are embedded within a federal agency to collaborate on challenges with innovators inside government. Fellows are based in Washington D.C. for the duration of their Fellowship, and are considered full-time employees of the federal government.

Fellows operate with wide latitude for individual initiative in planning and executing solutions to problem, and spend a significant portion of their time co-working and collaborating with other Fellows. Throughout the program, Fellows receive support from partners in the White House and change-agents across various federal agencies.

Created in 2012, opportunities for Fellows participating in the program have already include creating new crowdsourcing tools to empower survivors and first responders during natural disasters, significantly improving the quality of US patent system, or even addressing asteroid threats to human populations. Fellows have also unleashed the power of open government data to spur the creation of new products and jobs; designed pilot projects that make it easier for new economy companies to do business with the Federal Government; and much more. These are some of many other resultant projects:

This article is from  www.co-society.com/presidential-innovation-fellows-co-innovating-people/

www.whitehouse.gov/innovationfellows