Meet the Design Disruptors

How can organisations use narrative scenarios and SCD techniques as tools to produce resources for radical innovation so that they can survive in the long term? To answer the main question, there are three issues that will need to be explored: 1. Why should organisations produce resources for radical innovation in order to survive in the long term? 2. What is the key point that motivates organisations to explore and initiate radical innovation? 3. What are the benefits of SCD and narrative scenarios in terms of producing resources for radical innovation?

he India Design Council is committed to establish India as a center for design excellence. It constantly endeavors to increase knowledge, develop design capability, encourage businesses to use design, and drive value creation through design.

“Paths to Innovation in Culture” publication comes as a result of over five years of experience of investing in Sofia human capital in the area of arts and culture. The Academy for Cultural Managers is a postgraduate qualification programme for managers of municipal and independent cultural institutions, organizations and events. It is organized by Sofia Municipality through Sofia Development Association, Goethe-Institut in Bulgaria, Greece and Romania, Sofia University “St. Kliment Ohridski”, and is supported by EUNIC. “Paths to Innovation in Culture” publication aims to provide a South-East European overview of the role played by culture – including cultural heritage, creative economies and diverse forms of cultural expression – in developing thriving people-centered cities, and the authors and editors hope to make the case for culture as a force at the core of urban renewal and innovation.The publication contains sixteen thematic reflections grouped into the categories of Digital and Tech Innovation, Social Innovation and Innovation Together. These are essays by cultural manager experts on different ideas and sometimes case studies – successful examples from the field.

The aim of this article is to construct a conceptual framework for a discussion of experience design in the field of digital services. The focus is on service design and service design research with the aim of developing working tools to gain and concretize a holistic customer experience (deep customer insight) in everyday and real-time use for companies in the field of digital services.

Chapter three began by setting out one particular way of thinking about the complex realm of the ethical.

2014

This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself. - See more at: http://www.bloomsbury.com/us/chinas-igeneration-9781623568474/#sthash.Cqyr9OEh.dpuf

Cinephile, 2013

Television’s identity crisis in the post-television era yields a corollary to cinema’s blockbuster/indie dichotomy in its polarization between the edgy extravagance of pay- cable series and the reversion by broadcast networks to formulaic, low-cost, reality-style fare. Taking their lead instead from the moderate minimalist aesthetic of slow film rooted in televisual style and seriality, In Treatment and Louie indicate ways in which digital technologies are preserving not just the Hollywood-style spectacular, but also an artisanal indie aesthetic. These shows are pushed increasingly to the cinematic margins, whose real time, dialogue-driven, microdramas—filmed in close-up compositions and with hand-held cinematography—are ideally suited to modern view- ers’ ways of seeing intimately, actively, and obsessively (often on personal viewing devices such as laptops). Moreover, these two singular shows engage formally as well as narratively with middle-aged masculinity in a way that could also be described as moderately minimalist. They depart from fictional television’s prevailing pattern of using sensationalist melodrama and celebrated machismo to represent middle-aged men in crisis, still on display in shows such as Californication (2007-), Hung (2009-2011), Rescue Me (2004-2011), and Shameless (2011-).

Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges confronting actors, editors, electricians, and others. The authors take on pressing conceptual and methodological issues while also providing insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, it examines working conditions and organizing efforts on all six continents, offering broad-ranging and comprehensive analysis of contemporary screen media labor in such places as Lagos, Prague, Hollywood, and Hyderabad. The collection also examines labor conditions across a range of job categories that includes, for example, visual effects, production services, and adult entertainment. With contributions from such leading scholars as John Caldwell, Vicki Mayer, Herman Gray, and Tejaswini Ganti, Precarious Creativity offers timely critiques of media globalization while also intervening in broader debates about labor, creativity, and precarity.

Few movies in the history of cinema have been as enigmatic and thought-provoking as Kubrick's horror masterpiece The Shining (1980). The movie's maze structure and archetypical background of mythical reminiscence have challenged many film scholars and cinephiles to unravel the intricate pattern that Kubrick created. In 2012, the young filmmaker Rodney Ascher made Room 237, a documentary not so much about The Shining itself as about the many interpretations generated from Kubrick's movie. Assembled from movies' excerpts and archival materials, and with commentary by five people with different interests but united by an authentic obsession with The Shining, Room 237 is an enlightening journey into the most obscure regions of cinephilia, where repeated viewings of movies and overlap between cinema and everyday life confuse different levels of reality, causing an interpretation of the world mediated by cinema. Furthermore , the fragmentary structure of Room 237, constituted by a wide variety of material (from found footage to the visual analysis of The Shining's most compelling scenes), embodies and represents the progress of cinematographic spectatorship, from the movie theater to the home video years, and the Internet era with its digital streaming services. The article's main goal is to show how Kubrick's The Shining is particularly suitable for repeated compulsive viewing that encourages sensory overload and a potentially infinite cycle of interpretations. Furthermore, analysis of Room 237 will highlight the distinctive traits of contemporary remix aesthetic, which Ascher seems to choose as a vehicle for a reflection on the different ways of modern cinephilia.