Don Tapscott is an internationally renowned authority on the strategic impact of information technology on innovation, marketing and talent. He is a hugely successful author whose books include the international bestseller, Wikinomics. He will be in the UK for the release of his new book MacroWikinomics: Rebooting Business and the World|.
Don Tapscott explains how the current economic crisis is transforming society, business and markets, and where the opportunities are for thriving in the face of the downturn.
The global economic crisis is a wakeup call to the world: we need to rethink and rebuild many of the organizations and institutions that have served us well for decades, but now have come to the end of their life cycle. The financial services industry, for example, does not just need fresh infusion of capital or some new regulations; it needs a whole new operating model - one based on transparency, sharing of intellectual property and global governance.
As the crisis has spread to other sectors in the economy and even other sectors of society, it is exposing structural weaknesses and modes of operation that no longer nurture social and economic growth. The recent collapse of many newspapers is just one storm-warning of more to come: conventional wisdom isn't going to cut it for success in this century. We need to reinvent our institutions.
The most compelling issue: We face no challenge today that is more important than creating a green energy grid and reindustrializing the planet for sustainability. And for the first time in human history, the peoples of the world are building a global movement to solve this problem - a movement in which everyone is on the same side. So while the burning of the global economic platform is propelling change, simultaneously the digital revolution is driving new opportunities and a new generation of digital natives is entering the workforce, people who think differently and bring a new and much-needed set of skills to our problems.
Don Tapscott has unique insight and bold proposals for how to transform these institutions to meet the challenges posed in the new century by new media, a new generation and a new economy.
Friday, 22 October 2010
Thursday, 19 August 2010
Russia an its folklore
From: Organizational Dynamics, Vol. 37, No. 3, pp. 211–220, 2008
Russia: A Work in Progress - Transcending the Fifth ‘‘Time of Troubles’’
MANFRED KETS DE VRIES, KONSTANTIN KOROTOV, STANISLAV SHEKSHNIA
Russian folk tales are all infused with the rich and varied cultural identity of Russia and the historic events of its past. One of the most enduring images found in Russian folklore is the symbol of the Firebird (0aD BH4Pa, zhar-ptitsa, from BH4Pa bird Old Russian 0aD fire), a magical bird from a faraway land. During the centuries, the Firebird has been an icon for Russian peasants, revered as the herald of both blessing and doom for its captor. The Firebird is always depicted with majestic red, orange and yellow plumage, glowing like a fire after the first turbulent flames die down. The Firebird resembles the Phoenix and, like that bird, is heavy with symbolism representing the rising and setting sun.
In Russian folklore, the Firebird is the object of a difficult quest that the hero must undertake, and plays a role in determining his eventual fate. The quest is usually initiated by the hero finding one of the Firebird’s tail feathers, upon which he sets out to capture the live bird, sometimes of his own accord, but usually on the bidding of a father or king. These Firebird tales follow the classic scheme of fairy tales, with the feather serving as a premonition of a hard journey, magical helpersmet on the way, and returning from a far-off land with the prize. It is a tale of a hero overcoming impossible odds. The most popular version of the Firebird is in the tale Ivan Tsarevich and the Grey Wolf. The composer Igor Stravinsky first found international fame with his composition of a ballet called The Firebird for Diaghilev and the Ballets Russes.
In many ways, the Firebird can be seen as representing the mystery of the Russian soul. The Firebird is the symbol of Russia; it is a representation of its people’s resilience; it is an icon of rebirth, resurrection, and transfiguration. The Russian people have always had a remarkable capacity to rise from the ashes
of their history. As the tales of the Firebird suggest, they are tough; they are not easily defeated; they have always been a very strong and resourceful people. In spite of all the hardships Russians have been exposed to throughout the ages, they have been able to succeed due to their incredible stamina, a quality that distinguishes them from many other people and nations. In spite of chaos, misery and hardship, they have always been able to overcome times of trouble.
Russia: A Work in Progress - Transcending the Fifth ‘‘Time of Troubles’’
MANFRED KETS DE VRIES, KONSTANTIN KOROTOV, STANISLAV SHEKSHNIA
Russian folk tales are all infused with the rich and varied cultural identity of Russia and the historic events of its past. One of the most enduring images found in Russian folklore is the symbol of the Firebird (0aD BH4Pa, zhar-ptitsa, from BH4Pa bird Old Russian 0aD fire), a magical bird from a faraway land. During the centuries, the Firebird has been an icon for Russian peasants, revered as the herald of both blessing and doom for its captor. The Firebird is always depicted with majestic red, orange and yellow plumage, glowing like a fire after the first turbulent flames die down. The Firebird resembles the Phoenix and, like that bird, is heavy with symbolism representing the rising and setting sun.
In Russian folklore, the Firebird is the object of a difficult quest that the hero must undertake, and plays a role in determining his eventual fate. The quest is usually initiated by the hero finding one of the Firebird’s tail feathers, upon which he sets out to capture the live bird, sometimes of his own accord, but usually on the bidding of a father or king. These Firebird tales follow the classic scheme of fairy tales, with the feather serving as a premonition of a hard journey, magical helpersmet on the way, and returning from a far-off land with the prize. It is a tale of a hero overcoming impossible odds. The most popular version of the Firebird is in the tale Ivan Tsarevich and the Grey Wolf. The composer Igor Stravinsky first found international fame with his composition of a ballet called The Firebird for Diaghilev and the Ballets Russes.
In many ways, the Firebird can be seen as representing the mystery of the Russian soul. The Firebird is the symbol of Russia; it is a representation of its people’s resilience; it is an icon of rebirth, resurrection, and transfiguration. The Russian people have always had a remarkable capacity to rise from the ashes
of their history. As the tales of the Firebird suggest, they are tough; they are not easily defeated; they have always been a very strong and resourceful people. In spite of all the hardships Russians have been exposed to throughout the ages, they have been able to succeed due to their incredible stamina, a quality that distinguishes them from many other people and nations. In spite of chaos, misery and hardship, they have always been able to overcome times of trouble.
International Itinerants
Very interesting article about the definition and analysis of international itinerants.. I finally found a description for my personal attitude to career/work :)
BANAI,M AND HARRY,W (2004) "Boundaryless Global Careers: The International Itinerants"
Int. Studies of Mgt. & Org., 34(3): 96–120.
A few prepositions that have been highlighted by the author can be found below.
Self-managed careers
Proposition 1: The more that international managers, rather than their organizations, are in charge of their careers, the more likely they are to be international itinerants.
Loyalty to professional development
Proposition 2: The higher the international managers’ loyalty to their profession, rather than to their organizations, the more likely they are to be international itinerants.
Employment in multiple firms
Proposition 3: The more organizations independent of each other the international managers work for, the more likely are these managers to be international itinerants.
Transferable skills
Proposition 4: The more likely international managers are to acquire transferable skills, the more likely they are to be international itinerants.
Learning-related milestones
Proposition 5: The more likely international managers are to measure their career’s progress by assessing their level of learning, rather than by comparing their rank with that of their age group, the more likely they are to
be international itinerants.
Psychological meaningful work as measure of success
Proposition 7: The more international managers measure their success by psychologically meaningful work, rather than by pay, promotion, and status, the more likely they are to be international itinerants.
BANAI,M AND HARRY,W (2004) "Boundaryless Global Careers: The International Itinerants"
Int. Studies of Mgt. & Org., 34(3): 96–120.
A few prepositions that have been highlighted by the author can be found below.
Self-managed careers
Proposition 1: The more that international managers, rather than their organizations, are in charge of their careers, the more likely they are to be international itinerants.
Loyalty to professional development
Proposition 2: The higher the international managers’ loyalty to their profession, rather than to their organizations, the more likely they are to be international itinerants.
Employment in multiple firms
Proposition 3: The more organizations independent of each other the international managers work for, the more likely are these managers to be international itinerants.
Transferable skills
Proposition 4: The more likely international managers are to acquire transferable skills, the more likely they are to be international itinerants.
Learning-related milestones
Proposition 5: The more likely international managers are to measure their career’s progress by assessing their level of learning, rather than by comparing their rank with that of their age group, the more likely they are to
be international itinerants.
Psychological meaningful work as measure of success
Proposition 7: The more international managers measure their success by psychologically meaningful work, rather than by pay, promotion, and status, the more likely they are to be international itinerants.
Tuesday, 17 August 2010
Reasons for identity changes, and needs for life reevaluation.
An Extract from EEVA KOHONEN (2005)
"Learning Through Narratives About the Impact of International Assignments on Identity"International Studies of Management and Organization, vol.34-3,pp 27-45
Traveling, cross-cultural contacts, and frequent job changes between organizations may stimulate and intensify our reflexive capacity so that we come to understand better who we are (Lindgren and Wåhlin 2001). It can be assumed that in the absence of stable, supporting social networks, the boundaries of the self dissolve, and one’s identity comes under scrutiny. Osland (2000) found in her study that an overseas assignment was a transformational experience for expatriates. As a consequence, they questioned many of the taken-for-granted aspects of their life— identity, values, and everyday assumptions—and discovered hidden resources and skills. Furthermore, Sussman (2000) pointed out that successful adaptation to the host culture predicts a significant change in one’s cultural identity, and this may result in a more difficult repatriation period.
"Learning Through Narratives About the Impact of International Assignments on Identity"International Studies of Management and Organization, vol.34-3,pp 27-45
Traveling, cross-cultural contacts, and frequent job changes between organizations may stimulate and intensify our reflexive capacity so that we come to understand better who we are (Lindgren and Wåhlin 2001). It can be assumed that in the absence of stable, supporting social networks, the boundaries of the self dissolve, and one’s identity comes under scrutiny. Osland (2000) found in her study that an overseas assignment was a transformational experience for expatriates. As a consequence, they questioned many of the taken-for-granted aspects of their life— identity, values, and everyday assumptions—and discovered hidden resources and skills. Furthermore, Sussman (2000) pointed out that successful adaptation to the host culture predicts a significant change in one’s cultural identity, and this may result in a more difficult repatriation period.
Tuesday, 3 August 2010
The capacity to endure
The masters' thesis has been started and from now on I will be posting interesting facts/extracts from researched material related to Russian character, Russian history etc. My dissertation will be trying to identify the reasons for many occasions of miscommunication between western and Russian businesses and trying to find ways for its resolutions. i believe that much of Russian character is shaped by its intense and unique, extremely violent and unstable history (which is supported by many scholar's observations and studies). I believe that any behaviour, no matter how strange it might seem to us, has an explanation. Therefore I will try and explain the current lack of trust in the west among Russians.
It has been known for centuries about the Russian ability to survive under inhuman conditions, which has been trained for centuries.
An extract from Kets de Vers, M.F.R. The Anarchist Within: Clnical Reflections on Russian Character, Leadership Style, and organizational Practices 98/96/ENT describes it perfectly.
The Capacity to endure
In spite of (or perhaps because of) the harsh circumstances under which the Russians have lived – predominantly on vast, empty plains or on the Siberian taiga-Russians also come across as a people of enormous endurance and stamina. Their history is illustrative. The creation of their nation, a process marked by hardship, was preceded by centuries of social unrest. People in what is now Russia had to deal with Viking raiders from the north, the Tatar-Mongol domination, the Teutonic invasion, the Don Cossacks, and the Turks. Indeed, unrest has been Russia’s constant companion. Not surprisingly, then, the “Times of Troubles” (1598-1613) – a period of social and political upheaval during and after the reign of Boris Godunov, a period of great suffering caused by famine, epidemics, and incursions by Cossack soldiers and Polish adventures – continues to resonate with the Russian collective memory. Nor has Napoleon’s invasion or Hitler’s military campaign been forgotten. But the Russians, with their indomitable stamina, have risen above the many evil forces around them- the irrational authority, the violent changes of regime, the civil wars, the social disorder, the foreign intervention.
This ability to endure, this capacity for survival, has prompted some observers to offer ice fishing – an activity pursued by many Russians – as a metaphor of their character, of the hardiness and mysticism of the Russian soul. Standing for hours in front of a hole on a frozen lake in Siberia under arctic conditions in the hope of catching a fish is an unattractive proposition to most people. It looks like an open invitation for frostbite or even death. But in spite of its predictable discomforts, a large number of Russians find pleasure in this pursuit. Their pleasure could be seen as an expression of the love of suffering – even the assertion of a death wish; at the very least it could be seen as passive consent to a miserable situation. Yet it also illustrates the desire for solitude and the need for mystical unity with nature – traits that exemplify the deep spiritual character of the Russians.
Wednesday, 9 June 2010
Human Rights & Visual Culture
Birbeck College
University of London
11th June 2010
How are human rights represented and disseminated through visual culture? What is the role of visual culture in the formation of human rights politics and practices? How radical is the use of visual, online and web based media by human rights activists? Is there a visual politics of human rights?
This colloquium will bring scholars, campaigners and practitioners together to show examples of human rights in film, television, digital media and photography and discuss ways in which we can conceptualise and understand the emergence of visual culture in the human rights political arena.
The review will be coming soon.
SPEAKERS include
Costas Douzinas (Birkbeck) a regular contributor to The Guardian on human rights, and author of Human Rights and Empire: The Political Philosophy of Cosmopolitanism and The End of Human Rights;
Oscar Guardiola- Rivera (Birkbeck) author of What If Latin America Ruled the World? How the Second World Will Take the First into the 22nd Centuryand Being Against the World, Rebellion and Constitution;
Roger Hallas (Syracuse)author of Reframing Bodies: AIDS, Bearing Witness, and the Queer Moving Image and co-editor of Image and the Witness: Trauma, Memory and Visual Culture;
Jacqueline Maingard (Bristol) author of South African National Cinema and engaged in scholarship on visual culture on the South African Truth and Reconciliation Commission (TRC);
Les Moran (Birkbeck) author of Sexuality and the Politics of Violence and Safety and co- editor of Law’s Moving Image;
Gita Sahgal filmmaker and journalist, and former Head of the Gender Unit for Amnesty International; credits include Love Snatched and The War Crimes File, co-editor of Refusing Holy Orders, Women and Fundamentalism in Britain;
Emma Sandon (Birkbeck) co-editor of Law’s Moving Image, has taught on the EIUC summer school on Cinema and Human Rights.
Michael Uwemedimo (Roehampton)curator, filmmaker and member of Vision Machine Film Project which produced The Globalisation Tapes and currently working on the Niger Delta advocacy project
University of London
11th June 2010
How are human rights represented and disseminated through visual culture? What is the role of visual culture in the formation of human rights politics and practices? How radical is the use of visual, online and web based media by human rights activists? Is there a visual politics of human rights?
This colloquium will bring scholars, campaigners and practitioners together to show examples of human rights in film, television, digital media and photography and discuss ways in which we can conceptualise and understand the emergence of visual culture in the human rights political arena.
The review will be coming soon.
SPEAKERS include
Costas Douzinas (Birkbeck) a regular contributor to The Guardian on human rights, and author of Human Rights and Empire: The Political Philosophy of Cosmopolitanism and The End of Human Rights;
Oscar Guardiola- Rivera (Birkbeck) author of What If Latin America Ruled the World? How the Second World Will Take the First into the 22nd Centuryand Being Against the World, Rebellion and Constitution;
Roger Hallas (Syracuse)author of Reframing Bodies: AIDS, Bearing Witness, and the Queer Moving Image and co-editor of Image and the Witness: Trauma, Memory and Visual Culture;
Jacqueline Maingard (Bristol) author of South African National Cinema and engaged in scholarship on visual culture on the South African Truth and Reconciliation Commission (TRC);
Les Moran (Birkbeck) author of Sexuality and the Politics of Violence and Safety and co- editor of Law’s Moving Image;
Gita Sahgal filmmaker and journalist, and former Head of the Gender Unit for Amnesty International; credits include Love Snatched and The War Crimes File, co-editor of Refusing Holy Orders, Women and Fundamentalism in Britain;
Emma Sandon (Birkbeck) co-editor of Law’s Moving Image, has taught on the EIUC summer school on Cinema and Human Rights.
Michael Uwemedimo (Roehampton)curator, filmmaker and member of Vision Machine Film Project which produced The Globalisation Tapes and currently working on the Niger Delta advocacy project
Sunday, 16 May 2010
LECTURE REVIEW "The Truth will be known when the last witness is dead"
17/05/2010
University of London, Birbeck College
Speaker: Peter Osborne
University of London, Birbeck College
Speaker: Peter Osborne
The Memory Model:
- Misunderstands the constructed character of historical representation.
- Reduces history to representations of past events.
- Assumes a set of relations betweeen individual subjectivity, social subjects, collectivity and the process of history which, while still ideologically dominant, is being fundamentally historically transformed.
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