"organizations need to learn to think and act like artists"

Outra tendência há muito identificada aqui no blogue e em linha com a metáfora de Mongo:

"Re-discover human potential, further human flourishing!
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It might just be that as intelligent machines increasingly remove routines from our lives — and will soon automate and virtualize many more complex tasks, as well — humanity in the twenty-first century is called upon to re-discover and express its full potential. This may include the mind-body connectedness that has been getting lost since the Industrial Revolution, along with more holistic approaches towards a future that will actually support human flourishing
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Until just a few years ago, humanness and creativity in a world of commodity products (and services) was actually a risk. But in a world of global synchronicity with infinite variety and inevitable abundance (see music, films, travel, and very soon, banking and energy), creativity becomes a Must. As the arts have withered and started to mimic science, the rich irony of our new century is that organizations need to learn to think and act like artists in order to survive."

Como não recuar a:

• Arte e PME;
• Há sempre uma alternativa (parte II) 

Trechos retirados de "Why exponential technological change will need ‘exponential humanity‘"

Como pão para a boca

A propósito de "Quer atrair consumidores? Aposte no design ":

"Esta deve ser a aposta forte das empresas para aumentarem o seu negócio e conquistarem mais clientes, mas há quem continue a olhar para o design como um custo"

Recomendo a leitura de "Not just a pretty face: economic drivers behind the arts-in-business movement" de Robert D. Austin e Lee Devin, publicado no Journal of Business Strategy (2010).

"In the market place, products and services with aesthetic dimensions often command startlingly high prices (a Bang & Olufsen TV) or sell in volumes that dwarf less sophisticated offerings (Apple’s iPod). Some of these products and services appear immune from the progression toward commoditization that innovation research portrays as inevitable. High profit margins, big sales volumes, immunity from commoditization – these command the attention of the most bottom-line-fixated managers.
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Might enthusiasm for innovation be a ‘‘bubble’’? No, there’s something more fundamental at work here. This buzz is not a fad, but a symptom of executives’ mostly intuitive (but increasingly urgent) understanding of two fundamental technology-driven tectonic shifts in the business environment. These shifts and their accompanying seismic upheavals will change the way firms compete, especially established companies based in developed economies. Both shifts point managers toward art, art making, and aesthetics – territories unfamiliar to many, but in which they will soon need to build competitive capabilities.
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Executives of established firms in developed economies, bracing for a battle against foes with insurmountable cost advantage, naturally seek less-cost-dependent strategies.
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Michael Porter has argued that companies can successfully employ one of two generic strategies, but not both. A company can compete via cost leadership, in effect saying to its customers ‘‘Buy my products (or services), they’re just as good as others, but they’re cheaper.’’ Or a company can compete via differentiation, saying to customers, ‘‘Buy my products (or services), they cost more than others, but they’re better.’’ The rise of companies and brands competing from low cost regions, with access to a nearly infinite supply of low cost labor, suggests to firms in developed economies that they may soon have difficulty maintaining cost leadership (if they aren’t already). Some form of this realization usually starts managers in established firms thinking harder about differentiation strategies.
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Companies will need to figure out how to convincingly sell beauty, meaning, and experience, and that’s going to require that they think about aesthetics with a certain degree of expertise and coherence"

Temos de ligar ainda isto com  "somos todos alemães" e com a TSU para exportadores. Design, tão importante para as empresas como pão para a boca.

À atenção dos novos velhos.

MacGyver vs Sandy

Recordando "Há sempre uma alternativa!".
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Quando damos uma oportunidade à arte e nos afastamos do repetitivo vómito industrial, entramos num mundo onde o homo economicus não funciona e, por isso, há mais lugares para muito mais gente.

• "What entrepreneurs can learn from artists"
• "The U.S. Needs to Make More Jobs More Creative"

É a alternativa que diminui este risco:

• "Why Workers Are Losing the War Against Machines"
• "The Consequences of Machine Intelligence" (excelente lista de referências)

Como alguém disse: "Quando o que alguém faz se pode converter num algoritmo, pode ser codificado, pode ser convertido em linguagem-máquina e feito por um robô."

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Mais do que um Do-It-Yourself, um Create-It-Yourself criará um mundo alternativo a Metropolis, e evitará o cenáriorelatado em "Is Growth Over?":

"Smart machines may make higher GDP possible, but also reduce the demand for people — including smart people. So we could be looking at a society that grows ever richer, but in which all the gains in wealth accrue to whoever owns the robots."

BTW, quando se confia demasiado tempo no QCD, e no deus Eficiência, acaba-se assim "Revival of Hitachi the Company Is a Detriment to Hitachi the City"
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Recordar "The Human Factor"

E que empresa é que pode aspirar a ter futuro, sem estar no negócio da escala, e do volume, e do preço mais baixo, sem ser criativa?

"effective strategy for a firm that makes and sells special products means saying "No" to some business - to customers who will not let you take differentiation and coherence sufficiently into account, who won't allow you to work beyond their uninformed ideas of what they think they need. A firm that makes and sells non-ordinary products cannot afford a client that won't honor or can't appreciate these factors.
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"If you want to be a really great creative company, you have to have a certain amount of cash flow, so you can afford to say 'no,' so you don't have to do something you don't really believe in." Sufficient cash provides freedom to attend to plot, which in turn makes it likely that you'll get more cash (more of your special kind of business, for which you can charge higher prices).
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Cash can fund the maker's freedom, which, exercised, brings more cash."

E que empresa é que pode aspirar a ter futuro, sem estar no negócio da escala, e do volume, e do preço mais baixo, sem ser criativa?

E, nesta altura em que a criatividade pode ajudar a fazer uma grande diferença, como estão capitalizadas as PMEs?

Trechos retirados de "The Soul of Design" de Lee Devin e Robert Austin.

Depois da criação de algo "não-ordinário"

O amigo açoriano que referi em "Uma lição do mundo dos cosméticos" faz parte de uma equipa que está prestes a lançar uma startup não tecnológica com uma linha premium, dedicada a um nicho.
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Foi desse projecto que me lembrei ao terminar a leitura de "The Soul of Design" de Lee Devin e Robert Austin.
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Quem aponta para um nicho com uma linha premium procura desenvolver e comunicar algo "não-ordinário".

"When a thing displays well-constructed plot that is coherent, we'll refer to it as non-ordinary. Plotted coherently, the interactive parts of a non-ordinary thing together generates resonance, an enhancement of power that causes a thing to become greater and more effective than the sum of its parts would predict. Resonance incites reactions from people. It's those reactions that cause people to experience a thing as special."

Agora, pensando na generalidade das PMEs, se uma PME/start-up não pode competir pelo preço, então, tem de criar algo de "não-ordinário", como o fez o sector do calçado:

"First, a coherent plot must somehow come into existence; in a business, to get this to happen, management must create conditions in which creative workers can thrive, often doing work the manager doesn't understand."

Depois, vem algo que as PMEs teimam em não perceber como podem aproveitar, e porque precisam cada vez mais, o marketing:

"Second, management and marketing must help potential customers contemplate and reason out the form, thus to experience the coherence, resonance, and resulting affect that constitutes the special experience of the thing.
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a special thing it may well be but the average person who encounters it can't properly apprehend it. And a special thing with coherence invisible to most will not succeed commercially.
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Marketing for special things, then, has to do with preparing customers better to see patterns, trajectory, consequences, and their forms. In some businesses, this might entail some kind of "education" for customers, though perhaps not formal education."

Recordo o caso de uma empresa com que trabalhei que lançou um produto inovador no mercado (B2B).  Um produto que permitia ao cliente poupar dinheiro e ser mais rápido na execução de obras de construção civil. A empresa teve muitas dificuldades no início, para a empresa parecia impossível que os potenciais clientes não percebessem a vantagem do novo produto. Só quando se olhou para o que caracterizava as primeiras encomendas é que percebemos todos o que estava a acontecer.
As duas primeiras encomendas, separadas por muitos quilómetros, tinham em comum terem directores de obra portugueses que tinham estado emigrados em França e na Alemanha. Estavam habituados, tinham aprendido a fazer contas em obra...
A abordagem comercial foi alterada, para passar a fazer contas para o potencial cliente e evidenciar o potencial de poupança, para educar o cliente. Não se podia partir do princípio que eles o fariam por si próprios.

"The commercial challenge associated with special things then is pretty simple. It has two parts: (1) to nurture special things into existence and (2) to provide information, education, and other assistance to the audience or customers that allows them to perceive a special thing's coherence."

Quanto mais a oferta se afasta do cumprimento puro e simples da funcionalidade, para subir na escala de valor, para criar a mística, para educar o cliente é preciso comunicar com o cliente de forma inteligente.
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Qual é a audiência? Quais são os canais? Qual é a mensagem?