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As Chief Imagination Officer of Creative Sage™, I live a passionate personal mission to cause the spontaneous combustion of creativity, innovation, and compassionate intelligence everywhere!

At Creative Sage™, we help corporations, nonprofit organizations, professional associations, project teams, entrepreneurs, consultants, authors, artists, performers and others to create outstanding marketing strategies, communications, solutions, services and products. We design dynamic, cutting-edge innovation programs that are tailored to our clients' individual needs for maximum return on investment in innovation management.

We coach and mentor executives, and we also coach accomplished, creative professionals and their organizations to revolutionize the concept of "retirement" and create powerful new lives, projects and initiatives, including Social Entrepreneur projects and partnerships between corporations, nonprofits and philanthropists. We use highly creative and effective methods to help people in mid-life or at any age to navigate transitions in business or in life. We'll coach your inner innovator out of hiding...we help you innovate to be great!


Cathryn Hrudicka & Associates was our original company name, where we've focused on marketing communications, public relations, fundraising, performing arts presentation, and management consulting in the entertainment industry and nonprofit arts. Known for our innovative approaches and story angles, and our strategic capabilities, we have also served a variety of business and technology clients, including working in various capacities on multimedia and marketing projects for Fortune 500s, major universities, healthcare companies, environmental/sustainability, and trade associations. We've also added social media and Internet marketing and PR to our mix of services. We bring your message to the world, and the world to you. Let's start a conversation!

~Cathryn Hrudicka, Chief Imagination Officer, Creative Sage™/ Cathryn Hrudicka & Associates


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I'm honored to be a contributing author to the 2011 best-selling business book, A Guide to Open Innovation & Crowd Sourcing: Advice from Leading Experts, along with some of my innovation colleagues from #Innochat (Twitter Innovation chat and web site); edited by Paul Sloane, with a foreword by Henry Chesbrough. You can order it here: http://amzn.to/OI_CS

I co-wrote the chapter, "Building the Culture for Open Innovation and Crowd Sourcing," with Gwen Ishmael and Boris Pluskowski — more information about all of the co-authors and the contents of this book at: http://bit.ly/OI_CS_Google

Sep 12
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Google has reached a pivotal moment in its history. What can it do to expand beyond its incredible core business, which is now reaching a more mature phase? For insight on how it can develop, let’s look to Pixar.

Pixar is as close to a constant learning organization as there is, with a proven ability to reinvent and a genuine cultural humility. Google’s founders could learn from Pixar’s founder and president Ed Catmull’s prolonged and determined efforts to counter the natural human reactions to success by aspiring to proactively (and honestly) seek-out and solve new problems constantly, recognizing that he doesn’t have all the answers on his own.

Despite an unbroken string of 11 blockbuster films, Catmull regularly says, “Success hides problems.” It’s an insight Google should acknowledge and act on. Google’s leadership admirably tolerates failure on side-projects (and big projects as well), but what Pixar has that Google does not is a culture where the fear of complacency is a strong motivator, where new problems are identified, discussed, and addressed openly and honestly, all of which requires humility.

As David Price describes in his superb The Pixar Touch, Pixar began its life as a computer hardware company. Price writes that Steve Jobs never expected Pixar to be a film company when he bought the company from George Lucas in 1986. Pixar was then the 45-person computer graphics group of Lucasfilms, led by Catmull, whose dream since graduate school had been to make a full-length digitally animated film. The group had developed the Pixar Image Computer, a computer graphics machine that produced high-end visual imaging (such as for MRIs). Jobs thought the technology had breakout potential when he bought it, yet the Pixar Image Computer never found a market.

Jobs also shrewdly allowed a tiny animation division, led by John Lasseter, a former animator from Disney, to make little bets on short animated films (and, later, TV commercials). Shorts would become the company’s vehicle to build the technical and storytelling expertise, as well as the credibility necessary to ultimately coproduce (with Disney) Toy Story in 1995, the first digitally animated feature film.

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