64
Definition-business strategy:
“the essence of strategy is [...] choosing to perform activities differently or to perform different activities than rivals.”

Around 1:19:00
Definition-creativity:
4 (not 5?) different conceptions of creativity are out there:

1. Manhattan Project version: clever people -> you organise & structure them -> together they achieve what nobody alone would be able to achieve -> record industry model -> producers -> the maestro behind it -> they should earn 90%
2. The mad genius: all in his head
3. Genius in the community: the community creates together -> Mississippi blues delta
4. The jam session: “Rather than the individual genius there is the synthesis of things that happens when you get ??? people together in a rather unstructured free form kind of way.
5. The live event: never to be repeated, will never be the same again -> you were there, you were part of the magic

Young people think 5. is what is creative. => There will be a shift. It’s not about perfection, it’s about being live and real.
“A younger generation, they think creativity is something messy, something that happens in the field, that they can talk about because they were there, they were part of it. And it’s actually reconfiguring the notion of creativity.”

Entertainment = Unterhaltung

220
“Unterhaltung is [...] historisch bestimmt.” According to Hügel.
-> the word “entertainment” means something -> because of history
-> will the word survive, but the meaning be entirely different?
-> will entertainment (in our historical sense) disappear?
-> or will the word itself disappear?
=> I think youth will appropriate it.

222
“Dabei soll das Konzept der Convergence Culture, wie es Henry Jenkins (2006) expliziert hat, den Ausgangspunkt für meine Erörterung der Frage bilden, was es für >unsere< Unterhaltungskultur bedeutet, wenn sich Unterhaltung nach ihrer Emanzipation zur eigenständigen kulturellen Institution nicht nur mehr und mehr entgrenzt, sondern wenn sich mit jüngsten technologischen Transformationen der Medien und dem Entstehen von >Kulturen der Konvergenz< jene spezifischen Produktions-, Distributions- und Rezeptionsverhältnisse verändern, die die Emanzipation der Unterhaltung im 19. Jahrhundert und ihre kulturelle Dominanz im 20. Jahrhundert erst ermöglicht haben.”

223
“Bekanntlich ist die historische Entwicklung der Unterhaltung nicht denkbar
ohne das Entstehen der Massenmedien mit den ihnen eigenen Merkmalen
der Arbeitsteilung, wie sie für moderne Industriegesellschaften charakteristisch
sind (MAASE 1997). Nicht nur in der Sphäre der gesellschaftlichen Produktion, auch in der Sphäre ihrer kulturellen Reproduktion ist die Trennung in Produzenten und Konsumenten bestimmend für den Charakter kulturellen Austauschs von Unterhaltung als Produkt, das durch professionelle Unterhaltungsmacher für ein breites Publikum hergestellt wird und das auf dem Markt der Unterhaltung als Ware zum Konsum angeboten wird. Dass Unterhaltung als Ware gehandelt und konsumiert werden konnte, hat zu ihrer historischen Stabilisierung als kultureller Form beigetragen, wie die >Ware< Unterhaltung als kulturelle Form sicherlich auch wesentlich zum Erfolg der technischen Massenmedien im 20. Jahrhundert und insbesondere zum Erfolg des Fernsehens als der Inkarnation des Unterhaltungsmediums (vgl. MÜLLER-SACHSSE 1981) beigetragen hat."
"Die Konvergenz der Medien impliziert vor allem eine Neudefinition des Verhältnisses zwischen den Sphären der Produktion und der Rezeption (vgl. MÜLLER 2oo9a).”

225
“Unterhaltung lässt sich, so lautet ein weiterer Lehrsatz aus der ersten Lektion im Hügel’schen Propädeutikum zur Theorie und Geschichte dieser besonderen kulturellen Form, nur »als Prozess, als Vorgang oder als Beziehung « fassen (1993a: 121)”

226
“im Unterschied zu bloßer Zerstreuung [ ... ] erlebt der Unterhaltende sich jedoch als anwesend; er braucht zwar kein Engagement aufzubringen, läßt aber die Möglichkeit zu, dass die Unterhaltung ihm etwas sagt« (HÜGEL 1993: 137f.).”

228
“Ich will [...] fragen, welcher Art der Prozess respektive die Beziehung ist, die YouTube bei denjenigen >usern< initiiert, die aktiv am Online-Video-Sharing teilhaben.”

229
“YouTube-Clips beanspruchen demnach nicht, abgeschlossene ästhetische >Schöpfungen< unbekannter >Autoren< zu sein; sie stellen vielmehr Beiträge durchschnittlicher >user< dar, die einen Baustein zum kollektiven kreativen oder diskursiven Prozess beitragen: YouTube erscheint in dieser Perspektive als ein Universum unendlicher Texte, die niemals abgeschlossen sind, sondern immer wieder umgeschrieben, neu arrangiert und montiert, redigiert und ergänzt, verzerrt oder verstümmelt, wiederholt, widerlegt und fortgeschrieben werden."

230
"Partizipation [ist] die raison d’être von YouTube”

234
“Beispiele hierfür sind Formen, die in der anglo-amerikanischen Literatur als »enhanced television« (VAN VLIET 2001), als »overflow television« (BROOKER 2001) oder als »engagement television« (ASKWITH 2007) beschrieben worden sind.” -> Transmedia storytelling with traditional medium (TV) in mind -> not “native” transmedia storytelling.

234f
“Es ist vor allem die Frage, ob damit zugleich auch grundsätzliche neue Formen kommunikativer Beziehungen dominant werden, die an die Stelle der Beziehung der Unterhaltung treten werden. Derzeit scheint mehr darauf hinzudeuten, dass Unterhaltung sich auch im Web 2.0 neben anderen kommunikativen Praktiken einen platz erobern wird und damit auch neue Formen der Partizipation prägen wird. Ob und wie das den Charakter der Unterhaltung wie den der Partizipation verändern wird, bleibt abzuwarten.”

235
“Ende der >Epoche der Unterhaltung<"
-> possible -> in the sense that entertainment will change so much that we can’t call it entertainment (in our sense of the word) anymore

She broke the news that the PGA introduces the title of Transmedia Producer.

“More importantly, for the first time in the guild’s history, they voted on and ratified a new credit – that of the Transmedia Producer – which had been shepherded by such Hollywood names as Mark Gordon, Gael Anne Hurd, Jeff Gomez, Alison Savage, and Chris Pfaff.”

Definition-transmedia producer is copied from the PGA’s website. See Woi Woi.

TOC

1. Beyond Utopia
2. New Frontiers of Social Change
3. The Obsolete Monetary system
4. Resource-Based Economy
5. Motivation, Incentive & Creativity
6. The Human Aspect
7. The Venus Project

“Any way that humankind has invented to lie to each other should be part of your storytelling toolkit.”

Storytelling generations

Bard 1.0 – old dead Greek blind guys
Bard 2.0 – Greek theatre – parallel bards
Bard 3.0 – book – scalable bards
Bard 4.0 – cinema – parallel scalable bards
Bard 5.0 – digital storytelling (not the Hartley type)

2
Definition-BIM
BIM is “The process of creating and using digital models for design, construction and/or operations of projects.”

21
“For decades, aerospace, automotive and shipbuilding companies have designed their complex products virtually, working closely with their suppliers, and used the models to drive their fabrication equipment. In effect they build the product twice, once virtually to ensure optimization, then physically in exact compliance with the model, at a high level of quality and production efficiency, in safe clean conditions with a skilled and well-trained workforce. This has contributed enormously to improved productivity, safety and product quality in those industries.”
“The Key Concepts of BIM
Most of the important benefits of BIM can be tied to three fundamental concepts:

1. Database Instead of Drawings
2. Distributed Model
3. Tools + Process = Value of BIM”

22
I would call it the increasing level of use of BIM. It starts with a simple model, goes on to a model in time (the virtual construction process of a building), adds project management, then links costs to to those project elements, allows photo realistic illustrations, and provides a model the owner can use for maintenance purposes.

• “Design models – architectural, structural, MEP and site/civil
• Construction model – breaking the design models down into construction sequences
• Schedule (4D) model – linking the work breakdown structure to project elements in the model
• Cost (5D) model – linking costs to project elements in the model
• Fabrication model – replacing traditional shop drawings and driving fabrication equipment
• Operations model – for turnover to the owner”

24
“Although it can be said that we are still in the “wonder years” of this industry transformation, one thing is clear, we are not going back.”

“A field is emerging that leverages the capacity to collect and analyze data at a scale that may reveal patterns of individual and group behaviors.”

She says: business model = story. Is this the same thing as the “Why? of business” like in that TEDx talk?

86f
“A good business model remains essential to every successful organization, whether it’s a new venture or an established player.”

87
Definition-business model:
“They [business models] are, at heart, stories-stories that explain how enterprises work. A good business model answers Peter Drucker’s age-old questions: Who is the customer? And what does the customer value? It also answers the fundamental questions every manager must ask: How do we make money in this business? What is the underlying economic logic that explains how we can deliver value to customers at an appropriate cost?”

88
“a successful business model represents a better way than the existing alternatives. It may offer more value to a discrete group of customers. Or it may completely replace the old way of doing things and become the standard for the next generation of entrepreneurs to beat.”
“Creating a business model is, then, a lot like writing a new story. At some level, all new stories are variations on old ones, reworkings of the universal themes underlying all human experience. Similarly, all new business models are variations on the generic value chain underlying all businesses.”

89
“This was something new. Before the personal com­puter changed the nature of business planning, most successful business models, like Fargo’s, were created more by accident than by design and forethought. The business model became clear only after the fact. By en­abling companies to tie their marketplace insights much more tightly to the resulting economics-to link their assumptions about how people would behave to the num­bers of a pro forma P&L­ spreadsheets made it possible to model businesses be­fore they were launched.”

90
“Profits are important not only for their own sake but also because they tell you whether your model is working.” -> and which part of it is working.
“Business modeling is, in this sense, the managerial equivalent of the scientific method – you start with a hypothesis, which you then test in action and revise when necessary.”
“When business models don’t work, it’s because they fail either the narrative test (the story doesn’t make sense) or the numbers test (the P&L doesn’t add up).” -> story here means what you do and how.
“Ultimately, models like these fail because they are built on faulty as­sumptions about customer behavior. They are solutions in search of a problem.” -> I think she mentions 1990s interactive TV.

91
“Every viable organization is built on a sound business model, whether or not its founders or its managers con­ceive of what they do in those terms.”
Definition-business strategy:
“Business models describe, as a system, how the pieces of a business fit to­gether. But they don’t factor in one critical dimension of performance: competition. Sooner or later-and it is usu­ally sooner-every enterprise runs into competitors. Deal­ing with that reality is strategy’s job.”
“When you cut away the jargon, that’s what strategy is all about – how you are going to do better by being different.”

92
“When a new model changes the economics of an industry and is difficult to replicate, it can by itself create a strong competitive advantage.”
-> Dell:
copy it -> die (“If Dell’s rivals tried to sell direct, they would disrupt their existing distribution channels and alienate the resellers on whom they relied.”)
don’t copy it -> die (if they didn’t copy Dell, they would have to pay all the middle men and their profit margin would shrink and it would become impossible to ever catch up with Dell)
“It’s true that any attempt to draw sharp bound­aries around abstract terms involves some arbitrary choices. But unless we’re willing to draw the line some­ where, these concepts will remain confusing and difficult to use. Definition brings clarity. And when it comes to concepts that are so fundamental to performance, no or­ganization can afford fuzzy thinking.” -> This is what I’m doing with EA!!!