"Remember that a kite rises against, not with the wind"
We need to create the conditions in cities and cultures where people can think, plan and act with imagination. The capacity to imagine is being squashed by the hierarchy of risk culture, the doom and gloom corporate system that places an ability to mitigate loss above the blue sky creative capacity. Ideas, knowledge and intercultural imagination are just as valuable as powerful as financial capital.
Prosperity more and more will depend on creative advantage, a flow of ideas and innovation. The top down corporate structure is giving way to the horizontal open source, peer produced network of ideas. The hierarchical model of organization has been the historically dominant model for our Western institutions such as the Government, Church and military-industrial complex. So pervasive and enduring has this model been that we have assumed there are no alternatives. But today companies that make their boundaries porous, and accept input from the global creative sector are the ones best poised to create enduring value. Traditional forms of intellectual property create a walled compound of content, where resources are hidden and companies compete with each other to gain access to vital innovation pools.
But increasingly companies are finding that the best way to build vital business structures is to harness a shared foundation of technology and knowledge to accelerate growth and innovation.
Patent protection can reduce creative capacity and innovation potential because it locks in ideas within the domain of rights holders but blocks the development of those ideas from the sea of outside capacity. This is stifling to the life journey of ideas.
The risk economy is a massively growing industry. Corporate risk has its specialists, consultants, serious curriculums and poker faced advocates. It is the default mechanism that has embedded itself into how companies continually evaluate their negative potential. The corporate mood of the time is how to avert the worst (rather than create the good).
A creative city values authenticity, originality, uniqueness and innovation. These cultural resources are the raw materials of the creative city - more valuable than the bricks and mortar or the gold and steel of the traditional value base.
However the rider here is that creativity needs to be tied to truth and authenticity - advertising "creatives" who come up with more and more elusive ways to convince unwitting consumers to purchase harmful or simply needless products are not creative, they are simply continually deceptive (to themselves as well, lets be honest).
As Nordstrom and Ridderstrale have suggested "the surplus society has a surplus of similar companies, employing similar people, with similar educational backgrounds, coming up with similar ideas, producing similar things, with similar prices and similar quality."
The old intellectual industrial architecture has been so pervasive that we have taken it for granted just like the familiarity of our streets and buildings, as though there were no alternative.
It is the contrast with this and the alternative view that gives artists their power, and their passion.
Link to original post
We need to create the conditions in cities and cultures where people can think, plan and act with imagination. The capacity to imagine is being squashed by the hierarchy of risk culture, the doom and gloom corporate system that places an ability to mitigate loss above the blue sky creative capacity. Ideas, knowledge and intercultural imagination are just as valuable as powerful as financial capital.
Prosperity more and more will depend on creative advantage, a flow of ideas and innovation. The top down corporate structure is giving way to the horizontal open source, peer produced network of ideas. The hierarchical model of organization has been the historically dominant model for our Western institutions such as the Government, Church and military-industrial complex. So pervasive and enduring has this model been that we have assumed there are no alternatives. But today companies that make their boundaries porous, and accept input from the global creative sector are the ones best poised to create enduring value. Traditional forms of intellectual property create a walled compound of content, where resources are hidden and companies compete with each other to gain access to vital innovation pools.
But increasingly companies are finding that the best way to build vital business structures is to harness a shared foundation of technology and knowledge to accelerate growth and innovation.
Patent protection can reduce creative capacity and innovation potential because it locks in ideas within the domain of rights holders but blocks the development of those ideas from the sea of outside capacity. This is stifling to the life journey of ideas.
The risk economy is a massively growing industry. Corporate risk has its specialists, consultants, serious curriculums and poker faced advocates. It is the default mechanism that has embedded itself into how companies continually evaluate their negative potential. The corporate mood of the time is how to avert the worst (rather than create the good).
A creative city values authenticity, originality, uniqueness and innovation. These cultural resources are the raw materials of the creative city - more valuable than the bricks and mortar or the gold and steel of the traditional value base.
However the rider here is that creativity needs to be tied to truth and authenticity - advertising "creatives" who come up with more and more elusive ways to convince unwitting consumers to purchase harmful or simply needless products are not creative, they are simply continually deceptive (to themselves as well, lets be honest).
As Nordstrom and Ridderstrale have suggested "the surplus society has a surplus of similar companies, employing similar people, with similar educational backgrounds, coming up with similar ideas, producing similar things, with similar prices and similar quality."
The old intellectual industrial architecture has been so pervasive that we have taken it for granted just like the familiarity of our streets and buildings, as though there were no alternative.
It is the contrast with this and the alternative view that gives artists their power, and their passion.
Gmuva
Gareth Farry -
Label Owner, Lawyer, Producer, Music Visionary -
www.sugarlicks.com
[email protected]
Link to original post
