innovation
My job is simply to design gadgets that I like
To read things that are not yet on the page
A new gestalt
Upstream, Downstream
I choose a world with pyramids
Which would you choose: a world with pyramids? Or without?
Humanity has always dreamt of flight, but the dream is cursed. My aircraft are destined to become tools for slaughter and destruction. But still, I choose a world with pyramids in it. Which world will you choose?
The Innovation Funnel
A Comic by Tom FishburneMost organizations use some version of an innovation funnel to bring ideas to life. It starts with lots of ideas at the front end and then launches whatever survives all the way to the back end.
Yet this Darwinian process of bringing ideas to life doesn’t necessarily lead to survival of the fittest ideas. If we’re not careful, the innovation funnel leads to survival of the safest ideas.
Organizations are good at spotting risks. In an effort to improve success rates, organizations tend to put sharper teeth in the funnel.
As ideas run the organizational gauntlet, they can get pruned, sheared, shaped, and watered down beyond recognition. On the way, they can lose the essence of the idea. They may lose their point of difference and reason for being.
Celebrating Steve
A Video by Steve JobsWhen you grow up, you tend to get told that the world is the way it is, and you're meant to just live your life inside the world and try not to bash into the walls too much...but life can be much broader, once you discover one simple fact – and that is, that everything around you that you call life was made up by people that were no smarter than you. And you can change it. You can influence it. You can build your own things that other people can use.
Traditional companies are losing because they mismanage software engineers
An Article by Emma WattersonInnovation is messy, and frankly Anti-Steve [Jobs] can’t figure out why you wouldn’t just tell people the right thing to build and skip all the trial and error that comes with innovation. Anti-Steve and his board of directors that keep him in place fundamentally believe that they know what needs to be built. Or at least that they can hire the messiah that will come down off the mountain and tell everyone what to build. There is no such messiah.
Withered or seasoned?
An Article by Robin SloanThe Nintendo way of adapting technology is not to look for the state of the art but to utilize mature technology that can be mass-produced cheaply.
This is the reason a Nintendo console never has the fastest chips or the beefiest specs of its generation; instead, its remixes components in an interesting and generative way. Think of the Gameboy’s monochrome screen, the Wii’s motion controller, the Switch’s smartphone form.
[Gunpei Yokoi] is talking about reliability and predictability, in performance and supply alike. He wants the components to be boring, so their application can be daring.
Who Becomes an Inventor in America? The Importance of Exposure to Innovation
A Research PaperWe directly establish the importance of environment by showing that exposure to innovation during childhood has significant causal effects on children's propensities to invent. Children whose families move to a high-innovation area when they are young are more likely to become inventors. These exposure effects are technology-class and gender specific.
Age of Invention
A Series by Anton HowesI’m a historian of innovation. I write mostly about the causes of Britain’s Industrial Revolution, focusing on the lives of the individual innovators who made it happen. I’m interested in everything from the exploits of sixteenth-century alchemists to the schemes of Victorian engineers. My research explores why they became innovators, and the institutions they created to promote innovation even further.
The monkey, the tiger beetle and the language of innovation
An Article by Courtney HohneWhat we’ve learned from 10 years of moonshot taking about choosing your words wisely — and the many benefits of doing so:
- v0.crap
- Tiger Beetle Moments
- Killing our projects
- In the fog
- The Altimeter
- The Icebergs
- Headwinds & Tailwinds
- Chaos Pilots
- Patiently impatient, responsibly irresponsible, passionately dispassionate
Ancient magicians as innovation consultants
An Article by Matt WebbThe Codex Justinianus (534 AD), being the book of law for ancient Rome at that time, banned magicians and, in doing so, itemised the types:
- A haruspex is one who prognosticates from sacrificed animals and their internal organs;
- a mathematicus, one who reads the course of the stars;
- a hariolus, a soothsayer, inhaling vapors, as at Delphi;
- augurs, who read the future by the flight and sound of birds;
- a vates, an inspired person - prophet;
- chaldeans and magus are general names for magicians;
- maleficus means an enchanter or poisoner.
I happen to have spent my career in a number of fields that promise to have some kind of claim to supernatural powers: design, innovation, startups…
It’s not hard to run through a few archetypes of the people in those worlds, and map them onto types of ancient magician.
- Those like Steve Jobs (with his famous Reality Distortion Field) who can convincingly tell a story of the future, and by doing so, bring it about by getting others to follow them – prophets.
- Inhaling the vapours and pronouncing gnomic truths? You’ll find all the thought leaders you want in Delphi, sorry, on LinkedIn.
- Those with a good intuition about the future who bring it to life with theatre, and putting people in a state of great excitement so they respond – ad planners. Haruspex.
- Those who have the golden mane of charisma: enchanters. Startup founders.
- People with a great aptitude for systems and numbers, who can tell by intuition what will happen, from systems that stump the rest of us. We call them analysts now. MBAs. Perhaps the same aptitude drew them to read the stars before? Mathematicus.
The Small Group
An Article by James MulhollandLying somewhere between a club and a loosely defined set of friends, the SMALL GROUP is a repeated theme in the lives of the successful. Benjamin Franklin had the Junto Club, Tolkien and C.S. Lewis had The Inklings, Jobs and Wozniak had Homebrew.
Around a dozen members is the sweet spot of social motivation: small enough to know everyone, yet large enough that the group won’t collapse if one or two members’ enthusiasm wanes; small enough that you are not daunted by competing with the whole world, yet large enough that you still need to be on your toes to keep up.
The Image of the City
- To become completely lost
- Apparency
- On the edge of something else
- Nothing there, after all
- Paths, edges, districts, nodes, landmarks
To become completely lost
To become completely lost is perhaps a rather rare experience for most people in the modern city. We are supported by the presence of others and by special way-finding devices: maps, street numbers, route signs, bus placards. But let the mishap of disorientation once occur, and the sense of anxiety and even terror that accompanies it reveals to us how closely it is linked to our sense of balance and well-being. The very word "lost" in our language means much more than simple geographical uncertainty; it carries overtones of utter disaster.
Apparency
Half a century ago, Stern discussed this attribute of an artistic object and called it apparency. While art is not limited to this single end, he felt that one of its two basic functions was "to create images which by clarity and harmony of form fulfill the need for vividly comprehensible appearance." In his mind, this was an essential first step toward the expression of inner meaning.
On the edge of something else
The most common response to the question of symbolism was nothing in the city at all, but rather the sight of the New York City skyline across the river. Much of the characteristic feeling for Jersey City seemed to be that it was a place on the edge of something else.
Nothing there, after all
When asked to describe or symbolize the city as a whole, the subjects used certain standard words: "spread out", "spacious", "formless", "without centers". Los Angeles seemed to be hard to envision or conceptualize as a whole. Said one subject:
It's as if you were going somewhere for a long time, and when you got there you discovered there was nothing there, after all.
Paths, edges, districts, nodes, landmarks
The contents of the city's images which are referable to physical forms can conveniently be classified into five types of elements: paths, edges, districts, nodes, and landmarks.
- Paths are the channels along which the observer customarily, occasionally, or potentially moved.
- Edges are the linear elements not used or considered as paths by the observer. They are the boundaries.
- Districts are the medium-to-large sections of the city, conceived of as having two-dimensional extent.
- Nodes are points, the strategic spots in a city into which an observer can enter, and which are the intensive foci to and from which they are traveling.
- Landmarks are another type of point-reference, but in this case the observer does not enter within them, they are external. They are usually a rather simply defined physical object: building, sign, store, or mountain.
A directional quality
Paths may not only be identifiable and continuous, but have directional quality as well: one direction along the line can easily be distinguished from the reverse. This can be done by a gradient, a regular change in some quality which is cumulative in one direction.
Introverts and extroverts
Some regions are introvert, turned in upon themselves with little reference to the city outside them, such as Boston's North End or Chinatown. Others may be extrovert, turned outward and connected to surrounding elements. The common visibly touches neighboring regions, despite its inner path confusions.
Junctions
The junction, or place of a break in transportation, has compelling importance for the city observer. Because decisions must be made at junctions, people heighten their attention at such place and perceive elements with more than normal clarity. This tendency was confirmed so repeatedly that elements located at junctions may automatically be assumed to derive special prominence from their location.
What we are accustomed to call beautiful
Most objects which we are accustomed to call beautiful, such as a painting or a tree, are single-purpose things, in which, through long development or the impress of one will, there is an intimate, visible linkage from fine detail to total structure.
A certain plasticity
There are dangers in a highly specialized visible form; there is a need for a certain plasticity in the perceptual environment. If there is only one dominant path to a destination, a few sacred focal points, or an ironclad set of rigidly separated regions, then there is only one way to image the city without considerable strain. This one may suit neither the needs of all people, nor even the needs of one person as they vary from time to time. An unusual trip becomes awkward or dangerous; interpersonal relations may tend to compartmentalize themselves; the scene becomes monotonous or restrictive.
As plain as day
The personal experience of most of us will testify to this persistence of an illusory image long after its inadequacy is conceptually realized. We stare into the jungle and see only the sunlight on the green leaves, but a warning noise tells us that an animal is hidden there. The observer then learns to interpret the scene by singling out "give-away" clues and by reweighting previous signals. The camouflaged animal may now be picked up by the reflection of its eyes. Finally by repeated experience the entire pattern of perception is changed, and the observer need no longer consciously search for give-aways, or add new data to an old framework. They have achieved an image which will operate successfully in the new situation, seeming natural and right. Quite suddenly the hidden animal appears among the leaves, "as plain as day."