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Frankfurt Academy Quarterly (Spring Edition): Managing creativity in times of open change

Frankfurt Academy Quarterly (Spring Edition): Managing creativity in times of open change

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Published by Frankfurt Quarterly

Top managers face a “goldfish paradox”: how can they devise strategies when there are no
instruments to predict the future? Or, in other words: they need to jump out of their bowl
to get an overview, but they have to avoid coming down on dry land.

Top managers face a “goldfish paradox”: how can they devise strategies when there are no
instruments to predict the future? Or, in other words: they need to jump out of their bowl
to get an overview, but they have to avoid coming down on dry land.

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Published by: Frankfurt Quarterly on Feb 14, 2013
Copyright:Attribution Non-commercial

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09/17/2013

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Three insiders talk aboutwhat works and whatdoesn‘t when managingcreativity.
Why social media make sucha difference for reading, andhow to organise a book clubof 36,000 members.
A chance encounter withan expert on managementtheory – and why takinga break is a good idea.
Frankfurt Academy Quarterly
Managing creativity intiMes o open change
Top managers face a “goldsh paradox”: how can they devise strategies when there are noinstruments to predict the future? Or, in other words: they need to jump out of their bowlto get an overview, but they have to avoid coming down on dry land.
Spring Edition 2013
T   e  e i   s  a c  ow d 
 
I you’e seen the lm
, you’ll know what
h. M. W
* means. In the era o silent moies it wasinconceiable that talking actors could be the least bitinteresting. This shows us that when people are in themiddle o a process o reolutionary change, it’s otenimpossible or them to recognise that process, or toanticipate or inuence the trends. In the same way asit’s impossible or a goldsh to leae its bowl – in thenormal run o things.Now publishing, too, is undergoing a process o up-heaal that can’t be explained or predicted basedon experiences gained in the past. For the top-leelmanagers, this means getting accustomed to “openchange” and disruption, while at the same time trans-mitting to their company and their employees thestability they need. In other words, they must attemptto jump out o their goldsh bowls in order to get anoeriew. This issue o the
Frankurt Academy Quarterly 
 (FAQ) is deoted to the topic o managing creatiity. Tothis end, we’e talked to e senior international man-agers and
Frankurt Academy 
speakers. In our
column,
gies us insights into the global business o thebranding agencies,
 diulges the management qualitiesthat are currently most in demand, and
explains how the Indian publishing market worksbest – through “chaos management”.
looks at how the social media arechanging the way creatiity is managed.
adwLwk 
, books editor with the
Hungton Post 
(USA),has decades o experience in carrying out spontane-ous, global projects with creatie proessionals.
adw
 explains in
FAQ 
how he “manages” the reading experi-ences o 36,000 people in a social reading club.
Welcome!
Holger Volland
Vice Presicent, Media Industries
When theory and practice complement one another, it’sa happy coincidence. In
we ask the me-dia academic
Bz Mzjwk
(USA) what practicalbenets can be gained rom the
– andwhat things managers should pay attention to.Conerences such as
(Beijing) and
(Jaipur, India), workshops like
(Ahmedabad, India), and the
(St. Gallen, Switzer-land) are all attempts at extending our knowledgeabout the uture o management – and looking beyondthe rim o the goldsh bowl.Enjoy your read!P.S. In case you missed out last time, we hae preparedour special
FAQ 
editions or you. These e-books arewide-ranging compendiums o knowledge on topics suchas innoation and business models. You can downloadthem
or ree.
 Holger Volland is VP Media Industries at the Frankfurt Book Fair,and head of the
Holger Volland
, © Ch. Schmidt
One more thing: this ree quarterly magazine is likea aourite child to us at the
Frankurt Academy 
. Itshould be a global source o great publishing ideas,which means it gets better with eery additional newreader. So i you like it, please spread the word – andalso thelinkto the (ree) subscription.
„Who the hell wants to hear actors talk?“
H. M. Warner
, Warner Brothers, 1927.*
2
E    d  i      t     or  i      al     
T   e  e i   s  a C  ow d 
 S    e r   e n d  i       pi      t       y 
I   m  pr  i   n t   
T   e n d i  n g  T   o pi   c  s 
 
Three is a croWd1: gregor ade, designer:creaTiviTy is a crafThaT can be learned…in The end iT’s allabouT Telling a sTory.”
Approaches to management are highly subjectie and they areoten debated especially when it comes to managing creatiity.The
Frankurt Academy Quarterly 
(FAQ) asked three insiders ortheir take on what works, and what doesn’t:
g ad
rom the
German Designers Club
,
D al Kum
rom the
Indian Institute o Management 
, and
L sl,
co-ounder and principal o the consulting rm
Market Partners International 
(USA).
ByNicole Stöcker
Digitisation is changing the creatieworkow and all the actors will haeto redene their roles. More thaneer, one o the central challenges,especially or larger, internationallyactie companies, will be to organisecreatiity in a meaningul way. Howis this process taking shape in otherareas o the creatie industries thatace the same need to rethink theirstructures and business models inthe internet age?
FAQ 
discussed thisquestion with
g ad
, who isa board member o the
and who, as a ma-naging partner o the
, leads one o the largest brandand design agencies in Germany.
 
FAQ:
Mr Ade, why does creativity need manage-ment?
g ad:
I don’t see any contradiction betweencreatiity and strict management; that’s because crea-tiity is largely a crat that can be learned, deelopedand promoted. That a team works well together, knowsits market, has a good oeriew o the industry, andhas an international and inter-disciplinary make up –these are the tools o the trade that any good agencyhas to manage. So, to create the space or innoatieideas, you rst need to hae the right technical know-how. Going beyond that, we attempt to maintain aconducie enironment or creatiity with appropri-ate reedoms, and we make sure the creatie team isspared some o the work processes, such as conductingmarket analyses and assessing legal issues. We get thatdone by experts, who know their way around thosecomplicated topics.
3
E    d  i      t     or  i      al     
T   e  e i   s  a C  ow d 
T   e n d i  n g  T   o pi   c  s 
 S    e r   e n d  i       pi      t       y 
I   m  pr  i   n t   

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