Una historia extraordinaria

Vale la pena ver esta narrativa de Sarah Mensinga que ejemplifica el concepto que Uri Schulevitz tiene sobre la ilustración, no como una mera interpretación literal del texto sino aportando mucho mas al mensaje enriqueciendo la experiencia al lector

Ejercicios de proyección para trabajo en equipo | Project Shrink

Shrinkonian Exercises.

This is a list of the exercises described on The Project Shrink. Exercises for project teams and stakeholders.

They are Shrinkonian Exercises. Storytelling. Play. Maps. If you would like to know more about one or more of the exercises, don’t hesitate to contact me.

The Story Of Quest.

This is a multi-media storytelling exercise. The reason why your project exists, is because it has to fulfill a goal, create an end result. In bootstrapping lingo that is The Quest, the pursuit of something worthwhile. The goal of your project or organization is a powerful mechanism for alignment. Everyone is working towards the same result. But first you have to make sure they all have the same understanding of what “done” looks like. That is the purpose of this exercise.

Adventure Maps.

In this exercise we use the power of storytelling to interactively create a cunning plan. Although, now it’s called an Adventure Map. Every project is a journey. It is never a straight line. You have to conquer obstacles, replan, regroup, rethink and change course. Imagine your project as a map through unknown territory in search for The Goal. The map reflects the storyline of the project. The episodes of the project life cycle. The glory days of starting the project. The period in which the project was under attack by vicious stakeholders.

Stakeholder Maps.

The normal Adventure Map has a focus on events, the Stakeholder Adventure Map does focus on, you’ve guessed it, stakeholders. Stakeholder analysis is a technique to identify and analyze the stakeholders surrounding a project. It provides information on stakeholders and their relationships and expectations. A proper analysis of the stakeholders will help you to construct a project approach suited to the situation and will allow you to negotiate better with the stakeholders.

Yellow Brick Road.

The trip along the Yellow Brick Road from the Wizard Of Oz is long. Just like your project. With a lot of turns and twists. And mountains that block your view. From where you are standing you cannot see the end. How do you know you’re on the right track. You don’t want to travel a long distance to notice in the end that you went the wrong way. And people tend to get nervous when they have no idea of how far they are. Like stakeholders in a project. In this exercise you align the perception the stakeholders have of your journey.

This Brave New World.

When you conduct a project within a larger organization (the host organization) you might feel like an explorer at first. Like the famous explorers from the old days, you can follow two strategies on arrival: mix with the locals or directly plant your flag. In this exercise you focus on your strategy when arriving for the first time in the organization for an intervention.

The Travel Guide To Your Organization.

In this exercise you create a The Travel Guide To … [your organization]. A travel guide contains The Story of the company. It contains the essence of its culture. Creating The Travel Guide is an awesome exercise for any one planning a change in an organization. It assists storytelling and the discovery of culture. By playing with the elements of the culture from the organization and discovering our own relationship with them, the group culture emerges.

The Tent.

Your ragtag crew needs some kind of protection. If you’re on A Big Adventure you need a support structure. Projects create change. Change makes waves through the organization. And change creates stress for people. Your project is a temporary structure within the host organization.
In this exercise you discuss with the group how the ideal tent would look like. What kind of material? What information can get out, or what information should stay in the tent? What would you pack? How do you make sure you can get along on a small confined space for a period of time?

What Does Your Swing Look Like?

Different expectations of the end result among stakeholders and project team members can be a huge problem in projects. There is even a famous cartoon about this: it is about the customer expecting a swing on a tree, and all the different interpretations of it by others. If your project is suffering from something similar, you can use this cartoon as an exercise to raise awareness and discuss the different expectations in a non-threatening way.

The Vehicle.

This is an awesome exercise to create a shared vision and approach within your team, suggested to me by Kimberly Wiefling.

“… I sometimes ask a team to imagine that they are a vehicle on a journey, and to silently draw that vehicle and that journey as they perceive it . . . all team members drawing on one piece of paper together in silence. It’s interesting, and often amusing, what comes out of this exercise – snake pits, volcanoes, “Road out

Shockwave / Legacy.

A project has its own culture. This culture can be very different from the organization it is operating in. How do you make sure the project culture isn’t crushed by the larger organizations’ culture? And how do you make sure that project team members are still welcome in the organization when the project is done? That is the focus of this exercise.

The Project Chronicles.

During the project a Travel Journal is written which contains updates on the adventure. Stories enhance the culture. The habit and ritual around updating the stories enhance the culture. (Detailed description coming soon.)

History Maps.

Projects take place in a historical context, a context that can provide good stories about priority, purpose and legacy. What project lead up to this one? Which projects will be done after this one? Why wasn’t this project done before? (Detailed description coming soon.)

Six Thinking Hats For Project Management

This is an adaption of the famous Six Thinking Hats especially for Project Managers. As a project manager you get all kinds of problems to handle. Assessing the situation is, in my personal experience, the most difficult part. It is the old saying: knowing the problem is half the solution. In this dynamic world full of changes no two situations are alike. To be able to handle project situations you need to have a flexible mind; you have to be able to switch your ways of looking at reality in order to get to the true problem. A great tool for creative thinking and problem solving: De Bono’s 6 Thinking Hats. Each hat has a color which stands for a certain state of mind. By changing hats you should use a different mindset when looking at a problem.

If you would like to know more about one or more of the exercises, don’t hesitate to contact me.


Interesante manera de analizar una intersección

NYC Goes Three Ways

By summer 2010, the expansion of bike lanes exposed a clash of long-standing bad habits — such as pedestrians jaywalking, cyclists running red lights, and motorists plowing through crosswalks. The old habits exacerbate attempts to expand ways to use our streets; existing disfunction makes change more difficult.

My master’s thesis project at SVA focused on one intersection as a case study. The video aims to show our interconnected role in improving the safety and usability of our streets. The campaign is named ‘3-Way Street’ and is made up of a poster series, a video and website. 

The website is still under construction while a possible partner is found.

Music: “Peter Gunn” by Art of Noise featuring Duane Eddy, won a Grammy for Best Rock Instrumental of 1986. Available on iTunes.

3-Way Street from ronconcocacola on Vimeo.


Estrategias del pensamiento visual

Gracias a las redes de Linkedin me encontré con esta liga a una organización que se llama Visual Thinking Strategies (VTS)


Esta organización tiene como propósito es investigar y dar concer técnicas para los educadores mejoren el pensamiento crítico y de lenguaje de sus alumnos a través de la obsrevación y el análisis de imágenes.

Lo demás se los dejo en inglés:

VTS encourages participation and self-confidence, especially among students who struggle. VTS is easy to learn and offers a proven strategy for educators to meet current learning objectives.

The skills required for success in higher education and 21st-century jobs require different approaches to teaching. Our professional development programs provide educators with the teaching and learning strategies they need to increase academic achievement.

A continuación les copio un video de un ejercicio que se hizo con niños de 4 años de primaria en Estados Unidos, que me parece un ejemplo muy enriquecedor de lo que se trata el proyecto, es muy similar a la manera que lo hacemos en la disciiplina del diseño como el análisis retórico.

<p>A VTS Discussion with Fourth Grade Students from Visual Thinking Strategies on Vimeo.</p>

Averiguando un poco mas, les pongo algunos lugares de contacto con respecto al tema:

VTS and Studio Art Forum 
Detroit Institute of Arts, 5200 Woodward Avenue, Detroit, MI
June 22-24, 2011 from 9:30a.m. to 5:00p.m.
Please click here to register. 
co-led by Lisa Blackburn (Teaching Artist and former Head of Studio Programs at the Detroit Institute of Arts) and Amy Chase Gulden (VTS New York Regional Director)


los 4 pasos para “ver” arte contemporaneo

How to Look at Contemporary Art: A 4-Step Process

There are many different ways to look at art, but we’ve developed this 4-step process to be helpful especially with contemporary art. And the best part? No background in art is required! Whether you have a Ph.D. in art history or have never stepped foot into an art museum, it will work for you!  So let’s get started: 

Step One: Active Looking

Most people spend less than 30 seconds looking at a work of art, but interesting things can happen when you give a work more time. In this first step, we suggest that you take an inventory of what you see before reading the wall label, if one accompanies the piece. Your first reaction to a work of art might be “What does it mean?” This is natural, but we suggest putting this question aside for now and simply looking. We use the term active looking because looking and thinking about art isn’t a passive activity, it’s a workout for your eyes and mind. Take your time and make note of everything: color, line, shape, size, use of light and shadow, materials and subject matter. Step a bit closer to examine the details, step back to take in the composition as a whole, and if you can, walk around the work of art.

Step Two: Choices

Once you’ve spent time actively looking, now consider the choices that the artist made when creating this work of art. Often, a work of art is the result of countless studies and strategic planning by the artist so that it looks just how he or she wants it to look when finished. Thinking about the choices an artist makes often gives us insight into what the work might be about. Try to answer the following question:

What could the artist have done differently? 

Your answers to the question could involve use of color, scale, composition, materials, and any and every detail you notice. Remember, even the smallest detail that you see can be intentional and can contribute to the work’s overall meaning. 

Step Three: Connections

This is where we get personal . . .  just kidding (but not really!)!  In this third step, we invite you to draw from your own knowledge base, experience, and emotions to personally connect with the work of art. Do you know anything about this time period, artist, or subject matter? Does the work remind you of anything? Do you have a personal memory or experience that can relate to this work in any way? How does this work influence your mood?

Step Four: Possibilities

Finally, gather your ideas and evidence from the previous steps and think about some possible interpretations for the work of art. Keep in mind that a work of art may have more than one meaning. A wall label often offers one interpretation from the point-of-view of a curator, art historian, or an artist. It’s okay to disagree with them!

Extra Credit: Visual Conversations

Want to take it a step further? Another fun thing to do is to look for the ways that works of art interact with each other in a gallery. Let’s say you’ve just had a great experience with a work of art. Now look at other works close by. How do they talk to each other in terms of color, line, shape, scale, subject matter, or mood? What do they have in common? What about works of art across the gallery? 

Curators and exhibition designers carefully plan gallery installations and hope that you’ll notice thesevisual conversations. So next time you’re at a museum or art space, take a look, and see what you think!

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