THE LONG ROAD

THE LONG ROAD

While you’re looking out, traveling the distant vista — a long road, the living running — the journey shall continue.

And who said it would be easy?

Craft, in the making of anything, building the outbound relationships to people, in the truth of it, will be fraught with failure. Tries and trials, and circumstances wrestle what was once a straight path into something of a twisted labyrinth of knotted wanders.

Stick to it, the trials, the trying.

Thinking about the story of living, it can be about the struggle in finding the right solution; but that challenge will be in a set of failures, in getting to the next bend in the path.

Meeting with a friend of mine, Creative Director John Jay — one of the power drivers of Weiden + Kennedy, Portland, Oregon — gave me a tour during the overview meeting at their offices.

There’s a big sign there. Fail harder. It’s made of several hundred thousand clear push pins. And a couple of hundred hours of pin pushing…

the sign+the pins
>THE LONG ROAD
photo by dac

As Barrett Rossie, marketing strategist notes, failing harder is a bigger win.
To the notion of the journey and the journal of the daily creative explorations of making this living matter, you’ve got to fail harder. As I contemplate the challenges of my own running — now, 35 years in the sprint of that long road, it’s still right there — the perspective of the distant longitude, the sequencing of the stride: fail big, risk, leap, roll and bolt hard onwards. Speaking to some of the other creative directors at W+K — failure is common; it’s not celebrated, but it’s never considered anything but a learning against the curve of creative exploration.

The point will be the nature of the experiment.

As a person that’s perpetually putting a positioning between people that make things and people that need them, I ponder the three key words.

FAIL. From a Latin word for falling.
TRY. From the Old French — trier — to pick out or cull.
EXPERIMENT. From the Latin, experiri: to test, to try. (experience)

It might be in the last word that the risk is summed up — one to the nature of experience, there is a journey there.

Your journeying.
Experience comes from the most ancient of all, the PIE etymologyex, from the Latin, and *per from the PIE base “to lead or to pass over” — founding the same word as peril. The trial of any effort will play to the action of risk — and the danger of striding one place that will remain unattempted by others. Trusting the maturation of instinct, the pleasure of the heart, and the fitness to leap — there, you go.

There is a long road, and failure will be right there, in the laying of the journey, stone on stone, stride on stride.

In risking the harder failure, the willingness to imperil — the outcomes will be more profound. And isn’t that what it’s all about, making the pathway more unforgettable?

TIM | NYC
––––
WAY MAKING | THE JOURNEY

Girvin+People+Brand: http://bit.ly/sxa1C5

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THE COILS OF DANGER, THE CURLS OF FEAR

THE COILS OF DANGER, THE CURLS OF FEAR
sean freeman

Last night, I was talking to some people about surfing with sharks, at night. Dark passage, swirling masses, in the luminous sea — or seeing the sharks run the breaking waves, as I’m heading to shore, as I’m flapping like a fish with silvered bracelets — flickering — on each wrist, pretending I’m the coursing center of a shoal of fish on the run.

That what the sharks think, I’m told — as I reach the shore.
Shipwreck, Kaua’i, Hawai’i.

Then we started talking about snakes — and I recall: walking the woods, just after the winter thaws, in a canyon locked in the ice of its higher reaches. And there, a colony — rattlers — coiling and uncoiling, sinuous and gorgeously glossy — but the warning hackles emerge; and while there’s beauty, your sensing suggests, something else.
Cottonwood Canyon, off Storm Mountain, Utah — a winter run.

Moments, these discovered.

Like surfing with sharks, waves glowing in the movement of the ancient fish; rattlers warming, roiling and coiling, the crinkling sound of leaves turning and crunching; night — and desert, there are scorpions scuttling.

Seeing Sean Freeman, his renderings. I can recall the scent, scene, seen — just to that moment. Sound unfurling in the bright light of uncovering.

And to that, the other experiences jostle for a spot in the reckoning of fear.
Fear not, now — in wonderment.

Sense, and seize, the moment(um).

TIM
…..
GIRVIN | IMAGINATIONS
http://bit.ly/i7b7EN

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THE LONG WALK | THE PROCESSION | GALLERY IV

THE STATE OF WOWNESS*

THE LONG WALK | THE PROCESSION | GALLERY IV

IF I’M THINKING ABOUT THE WAY,
THE WALKING ROUTE — IT’S LIKE A LONG STRIDE TO THE SOMETHING THAT LIES AT THE END. THERE’S A RHYTHM, A SEQUENCING OF PILLARS THAT MARK THE TIME.

THE LONG WALK | THE PROCESSION | GALLERY IV

STEP BY STEP.

THE LONG WALK | THE PROCESSION | GALLERY IV

LOOKING UP, IT’S STEEP, THE RISE TO THE LIGHT THAT COULD BE THE START TO A NEW ROAD, ANOTHER PATH.

THE LONG WALK | THE PROCESSION | GALLERY IV

OR IT COULD BE THE BEGINNING OF ANOTHER MEANDER IN THE JOURNEYING THAT HAS NO END, YET ANOTHER BEGINNING.

THE LONG WALK | THE PROCESSION | GALLERY IV

START AGAIN, TO SEE WHERE YOU ARE.

THE LONG WALK | THE PROCESSION | GALLERY IV

AND IN THAT SEEING, THERE’S A CHANCE TO SEE BEYOND.

THE LONG WALK | THE PROCESSION | GALLERY IV

BEYOND SEEING.

THE LONG WALK | THE PROCESSION | GALLERY IV

AND THEN, THERE — THE ROAD WILL START AGAIN.

THE LONG WALK | THE PROCESSION | GALLERY IV

HERE’S THE NEW PATH.

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

THE LONG WALK | THE PROCESSION | GALLERY IV

Tim
–––
MONSTER STRATEGY + MASSIVE ENTERTAINMENT=
ENCHANTMENT: BRAND STORYTELLING

http://bit.ly/fJaECg

*I think about wow[ness] as a state of exhalation, that moment when something is seen, discovered, in scene sensed, that demands surprise, alarm, captivation in beauty. The shock of the beauty full, newly discovered — that is wowness.

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LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS | GALLERY III
THE STATE OF WOWNESS*

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

IN THE NATURE OF SEEING, THERE ARE DIRECTIONS – THE VECTORING OF PLACE AND SITE, SIGHT SEEN AND UNSEEN. BUT IT DOES COME DOWN TO THE LOOKING – AND THE LISTENING IN THE LOOK.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

AS ONE STUDIES ANYTHING, THERE IS THE REACH BACK TO THE SENSE OF SENSING IN THAT SIGHT, THE INSIGHT IN THE BEAUTY OF WHAT HAS BEEN MADE. THE PROFUNDITY OF SOME PLACES — IS THAT THERE IS A BRIDGE TO THE SIGHS OF SIZE — MAGNITUDE.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

THE POETRY OF THESE MASONIC STROKES, THEY CURVE AND CURL UP INTO THE LIGHT — LIKE, LYING IN SOME SAND BUILT CHAMBER, FAR BACK IN THE EARTH, WHILE THESE GRASSY FURLING BEAMS OF ROCK REACH UP, HOLD EACH OTHER.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

IT DOES COME TO THAT, THE HOLDING OF PERSON PLACE. ARE YOU AWED?
OR IS THERE A MIX BETWEEN THE AWE, THE AH?

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

PATTERNING THAT LAYERS IN STORY ON STORY ON STORY — UNTIL, ONCE AGAIN, YOU MOVE BACK INTO THE LABYRINTH OF THE LIBRARY AT BABEL — AND THE ALEPH EMERGES, AS YOU REST ON THE FLOOR, LOOKING BACK INTO THE DEEPEST RECESSES OF YOUR MIND IN MEMORY.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

BACK THERE, AT THE END OF THE ARRAY OF CURVES AND ARCS — ARCHES REVEAL A DOORWAY TO SOMETHING BEYOND — WHICH IS HERE, BUT IT’S ALSO:

OUT
THERE.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

UP THERE.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

AND SEE INFINITY.

LOOK UP, LOOK OUT | PRINCIPLES OF ABOVENESS

WOW.

Tim
….
GIRVIN | WEAVING BRANDSTORIES
CROWD MIND | EXPERIENCE DESIGN | MEMORY STRATEGY
http://bit.ly/ev7AYx

*I think about wow[ness] as a state of exhalation, that moment when something is seen, discovered, in scene sensed, that demands surprise, alarm, captivation in beauty. The shock of the beauty full, newly discovered — that is wowness.

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THE SEARCH FOR LIGHT | GALLERY II

THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

In the exploration of design, organizing information, considering presentations and context, emotional relatedness, there are two elements that I look for in the conjunction of creative intelligence and communications to community.
Content and beauty.

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

I’m rarely interested in the mere documentation, but more to what I’m feeling in the exploration of what can be found beneath, above, out there — the emerging and the next horizon. Because around any corner, next moment, what might that be?

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

Long back, I shot with multiple cameras, including video. Now I shoot mostly with one — the iPhone, as well as iPad. I gather, sort, delete and add, duplicate, filter and adjust till I’m at the best grouping of selections. Then I shift them all further — till what I’m seeing is what I’m feeling.

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

But in everything — all the work, all the living — that I’m doing, I am really looking for light — even in the darkest places. In all the storm-crossed voyages and the rifts of challenges that I’ve experienced, I’m still looking for what light could be found in the glinting range of darkness — the shadow, the greying moment — just before the crossing of the illuminated beam.

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

THE SEARCH FOR LIGHT | GALLERY II THE STATE OF WOWNESS

TIM | CARDONA
––––
THE STRATEGY OF

STORY, THE LAYERING OF SCENT + EXPERIENCE
GIRVIN STUDIES:
Perfume & Place Making
| http://bit.ly/fqHmEd

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THE MYSTERY OF PLACE | GALLERY I

THE STATE OF WOWNESS

THE MYSTERY OF PLACE | THE STATE OF WOWNESS

This is the first in a series of impressions — a gathering of images exploring interpretations of place, way-finding, presence and historical context; none of these images are raw — rather, each one has been tuned to emotional impressionism to what I’ve experienced, in traveling Spain.

I have always been a mystery seeker — I’d far rather strive past the beaten path to see something in a different way; I shun the crowded sunlight and look for the shadowed entrance. I believe in aloneness; I’d rather to wait till no one is there, than to shoot when the vista is packed with documentarians. I’d rather break into a forbidden hallway, a locked room, a cordoned corridor, a secret chamber, a blocked entrance, than to not see that space.

For me, the mysterious, the misted, the shadowed and hallowed — the darker side of things — is perhaps the most compelling and afflicting addiction I have — never still, since childhood.

THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS
THE MYSTERY OF PLACE | THE STATE OF WOWNESS

Tim
….
GIRVIN | WEAVING THE SOUL,
STORIES TOLD

CROWD MIND | EXPERIENCE DESIGN | MEMORY STRATEGY
http://bit.ly/ev7AYx

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VOLATILITY

VOLATILITY
Everything changes; everything is on fire. Nothing is the same as it was; everything is the same as it shall be.

In the mist of experience, it’s all changing — still standards flow, and patterning emerges. While everything is in flux, everything goes as it has from the past — yet, now, the speed of the wind is accelerating. It is flitting, fleeting, faster.
In the work that we all do — there are things that we are doing now that our parents, and their parents did.

An idea — made to light, made to make, to contribute, to build commerce; in meeting with a young technologist, still the unbridled “mine is the newest and coolest idea” reminded me of my childhood, looking into the glistening eyes of another passionate. An impassioned person, as we’ve noted earlier.

Passion, like fire, is volatile. But fire is a beautiful thing — it lifts, spins, curls and uncurls; fire consumes wholly, then changes the entire molecular character of its recipient. People are like that — once they go, they go, are gone, are changed likely forever. Like mist, smoke, perfume — sense(s) in transition.

Volatile is an old word.
In the 1300s, in older forms of English, volatiles meant “birds, butterflies, and other winged creatures.” According to scholar, Douglas Harper, the word in the 1590s was to reflect that which is “fine or light,” also “evaporating rapidly” (c.1600), from Medieval French — volatile, from the Latin volatilis “fleeting, transitory, flying,” from the stem of volare “to fly,” of unknown origin. There’s the sense of “readily changing, fickle” which is first recorded in the 1640s.

In watching the fire of change, and meditating on it — contemplate focus (the center of the house, the hearth, the place of flame) — it has the meaning of radiation outwards, as well as inwards. That movement is ever changing — inbound, outbound, radiating and vibrating; and they change in the shifting light. Just like powered ideas — spark, ignite, roar in a blaze or silently extinguish. Still, forever they are changed.

t i m
–––
BUILDING BRANDS
THAT ARE LOVED:

http://bit.ly/h9kJdW

A woman in my office said:
“everyone thinks you’re a attention deficit syndrome person.”

I’m fascinated by people that say things like that. I always look back at them, and watch — all the more closely.

I’d referenced a retort — which was, people that sense I’m not paying attention to them might have a question about what, really, they are saying. To the volatility — spring like fire — it will be about the story told; who’s telling it, how’s it told (compellingly) and does the listener care.

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iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY
(iPhoneZenBrush)
THE CARTOGRAPHY OF DESIGN THINKING | Part two

Doodles, scribbles, mapping and documentation:
Brandquesting®, brand navigation and creative brand business applications for the iPad

iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

People fire brands — brands are created by people for people — and engaging people in the process of understanding brands, building them, expanding their strategies is a foundation for how we work.

That principle isn’t uncommon — it’s sensible; but it’s in the how that can make a difference.

Collaboration counts in the ideation, but it counts more in the utilization and reference to how this is integrated not only for the team building and engagement, but as well in the celebration of final outcomes. Working with people in listening to challenges, formulating paths, exploring the stepping stones of those pathways and building definable and recognizable results is part of how that processing works. The more engagement, the more enchantment will be found in the outcome. Without enchantment — there is rarely engagement.

iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

Working with teams, customers, communities interactively — voices are heard, ideas are explored, inspirations are gathered and advancements are energized.

iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

It all comes down to the people — but as well, the documentation of process, gathering and savoring connections between people — learning from relationships, digging into community. Push further. And making choices of path. Brands have to go somewhere, speak a language, reflect a point of view, offer relevance, have a soul — and for the sake of survival, they need to have a sense of direction.

But the realm of the brand surely isn’t flat, it’s not a piece of paper with principles and guidelines — it’s a state of being. And being is a human state, it’s the nature of our evolving condition to be perpetually studying the horizon — what lies next, where to go, what will the conditions of that direction be? Brands, people, go together.

To the thinking on the nature of crowdweaving, building and exploring the ideas of teams, crowds of minds, the nature of examination is highly improvisational — it’s gestural, it’s way-finding, it’s guiding and digging in. That process of working with crowds of people — what we’ve referenced as a kind of cloudmind — presumes a sense of direction, and — pardon, what kind of cloud, size and rain — a breeze that is going in a certain way. While it might be directionally influenced, the nature of flow is changeable — it can go one way, then another — and finally still another. So, clouds go. So, crowds go.

We work as interpreters — but also channelers. To the idea of that channeling — drawing, live, working out ideas, images, maps, summaries is something that needs to happen on the fly. Gathered dynamically, it is more spontaneous and accelerated — and speed counts for everything in the short term. It’s not expected — “we are only going here” doesn’t work.

iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY
(Paper channeling / brand mapping / creative sketchplay)

Brand-Quests, explorations, strategic adventures go where they need to go. They can be surely mapped — but the weather changes. Be prepared for storms and windless seas.

We help the ideation with active engagement — looking at drawings, imagery, words, poetry, storytelling, street talk, safaris, hunts, whatever works in the enculturation of the team. Still, drawing and active translation lies at the center of the work. We draw. And we draw it out.

With the advent of the iPad, the idea of drawing, gathering ideas and assembling them as integrated expressions is becoming an expansion tool, to explore how on the moment experiences can be documented, shared, evolved.

At Design Thinking UnConference, Vancouver — the idea of team sharing, unconference presentations and notations from the experience led to a kind of overlaid note-taking of ideas. What came of that relating — aside from a posting on the conference blog, was the ability to draw and explore live how that could be seen — ultimately, by many.

Scribble. Ideate. Notate. Postulate. Activate.

iPad doodles, notes, photographs, observations, insights >
and outcomes, on the fly — for direction.

There is no answer.
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

Sometimes, the most powerful solution is shock(ing)
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

Please me, as I fall down and fail.
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

The wound of design thinking.
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

If I’d look for anything in design thinking, it would be beauty.
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

Tourism, counts.
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

Retail audition / on site — what’s working, what’s not — gathering live, working in the mix of place and message, visual and perception.
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY

Matrix messaging > building and
drawing, live explorations.
Session explorations —
notations, live sketch.

iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY
(iPhone message mapping)

In the speed of the migrations of thought, the live exploration — the team wandering to the ideal (idea) — charrette leaders, team members need to visualize and capture inspirations — gathered visioning. A crowded mind, a well-minded crowd, a team interpretation, a journey and exploration — the journey, the journal, they intertwine. The mind is a cauldron, there are storms, sparks, lightning strikes, winds and currents and showers of brilliance — whether one, or many — the surge and the whirlwindbut there will need to be the interpreter, the gatherer, the assembler, the draftsman. There will be a point when the brilliance reaches an apex, a fulcrum, some new marvelment.

Drawing that — live — can transform breath, thoughts, surprise into action. One thought, gestured, catalyzes.

TIM

GIRVIN | MEDITATIONS ON INNOVATIONS:
THE HERITAGE OF STEVE JOBS & APPLE

DESIGNING IMAGINATION : AND THE TOOLS TO MAKE IT HAPPEN
http://bit.ly/gFldge

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THE MAPPING OF ENERGY, MIND AND MOTION: NAVIGATING BRAND AND LEADERSHIP CHARRETTES

THE MAPPING OF ENERGY, MIND AND MOTION: NAVIGATING BRAND AND LEADERSHIP CHARRETTES.

THE CARTOGRAPHY OF DESIGN THINKING | Part one

Building the strategies for brand engagement thinking, creative intelligence workshops and tactical layouts for innovation sessions.

Working on a project for the planning of a market design program for an emerging brand, the issue will relate to a conceptual positioning, a marketing plan, and the assessment of a structured relationship to consumers, a naming architecture and the creation of a visual identity and collateral / online messaging and visual program.

There needs to be a navigational system, a journey log, the charting of a course to get from point a — a dreamed inspiration and business plan and a series of committed people — to point b: presence. The strategy will range from the opening ideation and inspiration, to a series of calibrated movements to build the brand, find the story, empower the soul of the enterprise and enliven the holistic presence in a manner that celebrates the fundamentals of the ideal.

But it’s really about thinking — the designed creative intelligence of mapping a plan that vibrates the flowering flow of energy. Mind power is about energy, the molecular electricity of thinking and human to human connection and perception. It’s about the energetic character of any brand or story wholly enriched in the dreams of people. There are people everywhere in the process. Flow goes, or is impacted, all along the river-running, the tributaries of ideas, and ultimately the channeling of that flow in a manner to create outcomes. Lightning bolts, electrical charges or the dynamics of flow — they all have a similar kind of feeling and visual presence.

While a brand leader, design thinker, sparker of creative intelligence can channel them to some extent, other rightful paths will be revealed. Energy will go where it wants, and needs, to go. Just so with the sense of chosen ideas. They will go where they want to go, based on what’s known and experienced.

We use successive workshops, collaborative encounters to build teams, ideas, and inspirations. These quests — string on a consistent but malleable structure.

The notion of query is investigation —
that is built on the framing of:

question — what is the nature of what’s being asked? Amazingly, there are plenty of charrette leaders for creative intelligence and brand explorations that enter the fray without a clear set of plans to deliver workable results. Any questions presume an answer — it’s not about simplistic mapping — it’s about leading the freedom to flow to get to the results.

understand — to the notion of understanding; the legacy of the word is about the stance of being “in between.” Aligned with “inter” — it will be about the seeing inside by being in between. That requires engagement — being in play, being in the midst — the middle. Only there can you see — be in — and know the game that must be played.

explore — to explore is, in the original context, the Latin shouting cry from the hunter: plorare as well as the pluere — which is “to flow.” Exploring isn’t only about the “finding” but it’s the flow to the outcomes that align to the questions and the answers that could emerge.

strategize — from that which is spread out, and that which requires action; any planning would be about the syncing from the field of understandings, the crowd of ideas, and how they can be flowed together and acted upon.

tactics — this is the phase of the technical, the art of the arrangement and in the most ancient layers of the word, this will be — “to set right.”

Key mnemonics to any creative brand session, innovation workshop, or ideation development charrette are noted below. Flow drivers are about the knowing.
To know, you’ve got to ask.

• Know the big questions. And know the little ones.
There are always larger scale questions and smaller tiers of inquiry — and each has their value. Know that value, the most powerful questions and answers — and the smaller organic query components that ripple around that inquiry.

• Know the hidden agenda. And the seen agenda.
Ask the right questions upfront to formulate process to know what to focus on, and what to steer clear of.

• Know precisely what kind of answers are expected.
Everyone has a different vocabulary — learn the language that’s being spoken.

• Know everyone that will be there, to engagement.
Doing backgrounders, interviews, upfront meetings and eye to eye connections, if possible, will support clarity about players.

• Know your timing — set points of action.
Activate breaks, brakes, session games and inventions to continually spark the participants.

• Know that if people need to be fed, there are tiers for how to eat during creative sessions.
They will be slowed down (smaller snacking and speed eating is better — longer breaks will disable the threading of connections); know how to keep the attention focused and moving.

• Know how to cut, improvise, evolve and restructure on the fly. Nothing works out as planned, the more you can flow, the better progression.

• Know documentation and track the content.
Having set talent for framing content that aligns with the query process will accelerate process and implementations.

Leading teams of people to crowdweave content and establish direction, you’ve got to know how to manage people, their ideas, will and inspiration in a manner that celebrates their contributions. You’ve got to be watchful, studying the body language of the participants, staying in contact with your client leadership, watch for distractions and keep the flow flowing.

Charrette is about speed. Thousands of years ago, as the root for “car”, the word sound that founded this idea was *kers– “to run.”

Go with the flow.

tim
—-
INNOVATION TEAM STRATEGIES

Crowdweaving ideation = Girvin Cloudmind | http://bit.ly/eToSYp

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THE LINK

THE LINK
Stories, myths, legends, tales — the link to humanity

If there’s a story
about a person,

which might be
a legacy,
a family,
a product —
a brand —
who’s telling it,
and who cares?

There are chains, coils, rings that sync and bridge the connections of one to the many.

But in the meditations on the work, the practice of creating things that connect people, we’re constantly thinking about how those alchemical attachments and those stamped amalgams work.

As a designer, in making things that link people together, that admixture is a chainmail, a hammering of many rings that form the new idea — or the story that could be for just one person. That one person — in the chained linkage — holds that story like the ringlet of the personal place that rings round them. From this ring — the personal space, the circle around the person — there are places of touch that connect one to another.

That story could be just for one person — and they hold it, in their own way. But eventually there will be a retelling. The legend becomes a telling that is held by the many. That myth spreads generations of experience and knowing — and the telling is spilled as a mystery, one to another, one to many, one to one million — billions, later, know one version of the story that has been recounted in multiplicity.

T H E
E T Y M O L O G Y
O F T H E L I N K

Any link will be about the strength of that connection. Link is an ancient telling. I go back.
Recounting the word, as an allegory of connection, begins at the bridge to the English language in the middle of the 15th century, “one of a series of rings or loops which form a chain.” It’s been suggested that this is derived probably from Old Norse *hlenkr (and by comparison — Old Swedish lænker “chain, link,” Norwegian — lenke, the Danish lænke). But the beginnings might be Proto Germanic — *khlankijaz (as in the German — lenken “to bend, turn, lead,” or gelenk “articulation, joint, link,” and later, the Old English —hlencan (pl.) “armor”). The most ancient seed for the word sound comes from the mist of the Proto Indo European lexicon — the base: *qleng– “to bend.” The word group — missing link — between man and apes dates to 1880.

THE LINK
the brynie chainmail of Bayeux Museum

The point of the study is the meaning behind the meaning. And being designers, strategists, writers and those that reach into the ephemeral bridge between emotionality and conscious choice the character of the deeper meaning of words will transcend time and create links between foundational ideas and the inspirations of their evolvements.

The allegory of the link — even in the context of the ringing of armor — relates to the character of connection. In designing a story, brand or otherwise, the nature of the telling finds a symbolic bridging.

T H E A L L E G O R Y
O F T H E L I N K
A N D
S T O R Y T E L L I N G
D E V E L O P M E N T

The chain, the ring, the rope, the knot — forging stories as metaphorical connections from, and to, people.

What is the type of telling (riveted, butted, or welded)?
What is the material that is used (iron, bronze, or steel)?
What is the density of the weave? The tighter the woven character, the more “impenetrable” it is.
And the thickness of the “ring.”

Thinking metaphorically about what this might represent in terms of messaging and framing — would be:
• In building the bridging — is this story something that is a series of connected, attached (rivet) stories (social media ringing or digitally connected rippling “Old Spice and Isaiah Mustafa”)? Or perhaps one story fitting to another (butted), one story “chaptered” to another — like filmed branding (Vans’TV or American Eagle’s roadtripping)? Or welded — one long storytelling, (Mother Boyle and Columbia Sportswear), that is relatively connected as a threaded framing?
• Materiality — whether iron (malleable), bronze (mixable), or steel (super “hard”). These might relate to the discipline of their making — one sequence might be more casually framed, another grouping could be combinant media; and “steel” might be a superstructure of highly organized media.
• The hardness of the ring? In any storytelling — there are tales that are synced to a precisely knit meme or grouping of people, adhering to self-held ideals. And then there are other tellings that reach out, the long running — to another great mass of humanity. How close the ring, and how hard its measure?

THE LINK
Steel

The link is an element of human design, that might find inspirations in natural expressions and biological design systems (which are inherently more profoundly loose in their assembly. The organic “ringing” is something that allows rings to fit together, in whatever magnitude might be discerned. And to that discernment — understanding these could be beyond the scope of our imaginings. The ring, the chainmail armour, the rippling of interconnectedness and interlacement — stories are alive in that they are human made. Humans touch them, share them, and they are influenced by their interconnection.

These symbolisms might be lost on the media planner — I’m thinking big picture.
Big story. Large idea.
And, to our take at least — what lies beneath.

And how beautiful is the chain of interconnection?

THE LINK
THE LINK
THE LINK

TIM | New York City
––––
THE STORY STRATEGY OF THE LUXURY BRAND
Girvin Brand Luxe | http://bit.ly/gTW5HZ

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