Embed Size (px)
Citation preview
2
Content
Introduction 3Testimonials 10
Day #1 CREATIVITY IN SERVICES & CREATIVE ECONOMY 14 Bridging the service gap: Thai hospitality and the knowledge economy 17
Day #2 CREATIVITY IN MEDIA & ENTERTAINMENT 18 The Behavioural DNA of Creativity: Insights from Creative Bangkok metaphor interaction 21 Random associations and the systematic exploration of novelty 24
Day #3 CREATIVITY IN ARTS & DESIGN 25 Design thinking is not design: design for non-designers 29
Day #4 CREATIVITY IN HERITAGE & TOURISM 30 Wanderlust: wandering to every corner of the earth is a way of life 33
Day #5 CREATIVITY IN SCIENCES & TECHNOLOGY 34 Ifyoustartsomething,finishit 38
Day #6 CREATIVITY and THE MIND & SOCIAL INNOVATION 39 Learning in the age of authenticity 42
THANKS 45
Creative Bangkok 2016 48
INT
RO
DU
CT
ION
Flashback onCreative Bangkok 2014
by Vincent RibièreFounder of Creative BangkokManaging Director of the IKI-SEABangkok University
From October 12th to October 17th 2014 was held the first edition of Creative Bangkok, an executive training program aimed at tea-ching, sharing and enacting best practices on creative techniques and innovation drawn from years of research conducted at Bang-kok University and its partner institutions. The weeklong program gathered 80 partici-pants and 50 world-class speakers from the six continents.
It featured some of the world’s mostinnovative organizations: Cirque du Soleil, NASA, Google, Index Creative Village, Ubisoft, as well as several internationally-acclaimed experts from Thailand, such as the Chairman of TBWA Thailand, Chaipranin Vidsuphol,architects Duanrit Bunnag and Pitupong Chaowakul, as Dr. Mechai Viravaidya(Dr. Condom).
All along these 6 days of creative immersion, diversity, in all its forms, was used to help participants discover new disciplines, new approaches, new people and new cultures. From molecular cuisine (Le Cordon Bleu) to space exploration (NASA), a wide range of approaches to creativity where shared and discussed.
The six senses of participants were activated all along the week but particularly during the half day WalkShop organized by Daniel Fraser and his Smiling Albino team, where participants explored, through a creativity lens, some of the ancient neighborhoods of Bangkok, surrounded by a colorful, flavored and soundscape atmosphere.
The theme of this first edition was Traditions and Modernity.
3
Thailand has a long and rich history,traditions and culture. A city like Bangkok is a concrete example that traditions and moder-nity can cohabit in harmony or in a “Beauti-ful Chaos” as Dr. Karndee Leopairote nicely stated in her presentation on the Creative Economy as the opening talk. Creativity and innovation should not be a constant quest to discover new valuable things ignoring or forgetting the past. Traditions carry a lot of value, uniqueness and lessons learned that can be the source of novel ideas, products, processes or new businesses. Talented Thai artists and Designers, like Eggarat Wongcha-rit (Craftactor), shared how he gets some of his inspiration from closely looking at nature
and historical and cultural artefacts. Various team challenges took place to put participants in front of real creative chal-lenges, under high constraints. The chal-lenges were very diverse from creating a new cocktail recipe using only Thai traditio-nal herbs and spices, to developing a new Doughnut concept, under the critical eye of Nadim Salhani (CEO of Mudman Group (Dun-kin’ Doughnuts)).
INT
RO
DU
CT
ION
4
What I presented above is just a small portion of the richness that emerged from theinteractions, collaboration and friendship developed between participants andspeakers during this week-long event.A Creative Bangkok report will soon bereleased, highlighting, in a more detailed manner, all the takeaways of this first edition.
Based on the participants’ positive feedback, we can confidently say that this first edition of Creative Bangkok was a success.This unforgettable creative experience will help each of them to think outside the box to overcome their challenges and it will also help them look at their own box through a completely different lenses.Creative Bangkok was deemed «a break-through» in terms of pedagogy andexperience, and is likely to become a yearly feature of Bangkok’s creative scene. The next edition of Creative Bangkok is scheduled on February 21-26th, 2016, don’t miss it! Visit creativebangkok.org to find out more about this unique Creative Asia-Pacific program.
As a final note, I would like to thank our stra-tegic partner, the MOSAIC team (HEC Mon-treal), from which our CreaBKK inspiration came from.
A special BIG THANK YOU to our sponsorAdvanced Information Service (AIS),as well as to our Media partner, Bangkok 101Magazine, and to all our other supporting partners. I would also like to particularly thank the various organizations which welco-med us for Creative Bangkok;Index Creative Village (an unforgettableexperience!), Bangkok Art and CultureCenter, Siam Museum, Dupont Innovation Center, the Chakrawat temple and Bangkok University.
I am also very thankful to all the speakers who accepted to join us for this 1st Creative Bangkok adventure, sometime flying from far away to be with us. Thanks to our Master of Ceremony, Francis Gosselin (f. & co) as well as to Jeremy Joncheray (Studio 923a) for all the great graphic design materials he developed for us. Finally, I would like to express mydeepest appreciation to my IKI-SEA team who put so much efforts and dedication to make this first edition successfully happen.
MERCI!
INT
RO
DU
CT
ION
CREATIVEBANGKOK
2014
5
PA
RT
ICIP
AN
TS
’ W
EL
CO
ME
GIF
TS
6
CR
EA
TIV
E B
AN
GK
OK
TE
AM
Vincent RibièreFounder of Creative BangkokManaging Director of the IKI-SEA
Naphunsakorn (Ronnie)WaiyawuththanapoomOpen Innovation StrategistiKI-SEA
Laddawan LeesakunClient Services ManagerIKI-SEA
Francis GosselinFounding partnerf. & Co.
Kudaboon KirtiputraDigital Content ManagerIKI-SEA
Jeremy JoncherayGraphic designerFounder Signes du quotidien
Valaiporn IsanCoordinatorIKI-SEA
7
PA
RT
ICIP
AN
TS
’ F
EE
DB
AC
K
50SPEAKERS
10WORKSHOPS
6SOCIAL
ACTIVITIES
6TEAM
CHALLENGES
11NATIONALITIES
77PARTICIPANTS
Key facts aboutCreaBKK 2014
Participants’ overallsatisfaction with CreaBkk
0
1
2
34
5
6
5.6
8
CE
RT
IFIC
AT
E
Vincent Ribière Managing Director of IKI-SEA
Patrick CohendetCo-Director Mosaic
THIS CERTIFICATE IS AWARDED TO
Creative Bangkok 2014
organized by the Institute for Knowledge and Innovation Southeast Asia (IKI-SEA) - Bangkok University
in partnership with Mosaic - HEC Montreal
Bangkok, October 12th-17th, 2014
On having participated toa Wold-class Innovative Management Workshop
XXXX XXXX
9
PA
RT
ICIP
AN
TS
’ T
ES
TIM
ON
IAL
S
Dr. Juan RomanNASAUSA
Brigitte CarbonneauCirque du SoleilCanada
Francis Gosselinf. & Co.Canada
Arthur Shelley Organizational Zoo Australia
’’ ’’ ’’ ’’’’ ’’ ’’
’’
Creative Bangkok was an extraordinary event that helped me think about Creativity and Innovation in a complete different way. It is a great learning and networking opportunity with distinguished thought leaders and practitio-ners in different relevant busi-ness areas. A must attend event!
Creative Bangkok was a success in term of networking, content presented, internatio-nal speakers, rich exchanges in between participants. Creative Bangkok is for sure the not-to-miss event in creativity and innovation in the Asia-Pacific region.
Creative BAngkok was an amazing participatory expe-rience. It gave us a fantastic opportunity to learn about crea-tivity and to discover Bangkok and new Cultures. It was a truly International experience.
Participating in Creative Bangkok was literally a mindset altering experience. The people involved extended the scope and reach of my network and stimulated me confidence to express mycreativity more confidently. I am certain this will enable me to perform at a higher level.
TESTIMONIALTESTIMONIAL TESTIMONIALTESTIMONIAL
10
Marjan Modara Kingdom of Bahrain
Alexandra Lederer Genea Australia
Paul HectorUNESCO France
Preecha Chaochotechuang Double P Marketing Communications Thailand
’’ ’’ ’’ ’’’’
’’’’
’’ I was really impressed and very thankful thatI made the decision of joining Creative Bangkok and experien-cing this highlyprofessional event andmeeting and building a network of a high caliberstandard.
Creative Bangkok was the best business event I have ever attended. These few dayswere a storm of innovative practice sharing, an immense opportunity to meet and network with the most innovative minds from across the world. Each morningI thought ‘this is it, they can’t do better than yesterday’ and yet, they did! Day after day, presentation after presentation, my mind filled with enriching sha-ring of experiences and discussions, whilstdiscovering an ‘other’ Bangkok. If there’s one event to attend in the next year, it’s that one.
Creative Bangkok was a conference like none other! The sessions, the atmosphere,generous presenters, brilliant and knowledgeable partici-pants, team puzzles and more.... got me excited, enga-ged. I really feel empowered with knowledge, resources and a renewed outlook to take on challenges I wouldn’t have considered before.
I learned a great deal from Creative Bangkok.It opened up new horizons.
PA
RT
ICIP
AN
TS
’ T
ES
TIM
ON
IAL
S
TESTIMONIAL TESTIMONIAL
11
Alex Suesserott Thailand
Patrick CohendetMosaic, HEC MontrealCanada
Lucy Stojak Mosaic, HEC Montreal Canada
Benjamaporn Boonsiriya PTTEP Thailand
’’ ’’ ’’ ’’
’’’’
’’
’’
CreaBKK was a smor-gasbord of insights on how creativity brings life to our world, from the artistic to the pragmatic, the mundane to the visionary, the elemental to the revolutionary. We had the pri-vilege to learn from people who made stuff happen and enrich our world across disci-plines and continents, indus-tries and cultures, the altruistic to the commercial. An event that makes you feel glad to be alive!
A unique experience, an amazing journey in the heart of creativity triggering all ourhuman senses, the encounter with a community of captivated and passionate people and the wonderful experience of the Thai hospitality. Creative Bangkok contributed to change myprofessional life, my research and my teaching.
An inspiring program that disconnects you from your own reality, arouses yoursenses, and enables you tore-invent yourself & improve your own creative capacity.
I had a wonderful expe-rience being part of the Creative Bangkok 2014. This is an excellent event! This event gave me a chance to learn from great speakers from many countries who have wealth of expertise and knowledge. It also give me a chance to participate inwonderful workshops ,meet and interact with diverse group of people. The creative team chal-lenge was a wonderful learning experience for me. This event provides me new ideas and evolves my creativity. The Creative Bang-kok 2014 really was an incredible experience.
TE
ST
IMO
NIA
LS
TESTIMONIALTESTIMONIAL
12
Madan Rao Asian Media Information and Communication Centre (AMIC) India
Nick WalterOne PulseUnited Kingdom
’’ ’’’’
’’
This is an absolutely certainly definitely*MUST ATTEND* event for me every year!
Creative Bangkok 2014 was one of the best business events I have attended. Greatspeakers, amazing energy, a lot of fun and some interesting discovery make this event a must for anyone in a creative position that wants to expand their mind. I can’t wait for 2016!
TE
ST
IMO
NIA
LS
TESTIMONIAL
13
Day #1CREATIVITY IN SERVICES& CREATIVE ECONOMY
Creative lounge Bangkok University
14
THE CREATIVE ECONOMY: CREATIVE THAILAND
Dr. Karndee LeopairoteThammasat Business SchoolThailand
THE SERVICE INDUSTRY THE MOST CREATIVE INDUSTRY THERE IS
Fredrik HärénAuthor and speaker on Busi-ness CreativitySingapore
CHANGING THE HOSPITAL PATIENT EXPERIENCE
Nutcharee JungvanicharBumrungrad InternationalHospitalThailand
SOS CREATION! CONNECTING INNOVA-TORS
Alexandra LedererGeneaAustralia
Day #1 CREATIVITY IN SERVICES & CREATIVE ECONOMY
’’ ’’ ’’ ’’
’’ ’’ ’’ ’’
My background is in engineering where efficiency comes first, arts come second or perhaps last but now I have changed. Now I feel arts and cultures are no longer additio-nal features or decoration but a life commodity.
Great customer service isn’t getting what you want. The best customer service there is is when you go in and you don’t get what you ask for. You get something that you didn’t understand that you want. Asia is the best place in the world to be for creativity.
Patient experience improves your practice.Communication improves both the patient and care provider experience. At the end of the day, improving patient expe-rience and communication is just the right thing to do.
Human nature is saying that it should be easier for youto say “I need help” and it is hard to say “I can help”.Sometimes you don’t know what you know.
SP
EA
KE
RS
’ Q
UO
TE
S
15
’’ ’’ ’’ ’’’’
’’’’
’’ ’’’’
FOOD OF THOUGHT
Dr. Helen PaigeThe Paige GroupAutralia
INNOVATION & CREATIVITY IN THAI-LAND’S, CULINARY LANDSCAPE
Chef Duangporn SongvisavaBo.Lan RestaurantThailand
“CREATIVE EFFERVESCENCE” DECONS-TRUCTION OF A MOSCATO ROSÉ WIN
Christophe Mercier & Chef Willy DauradeLe Cordon Bleu DusitCulinary SchoolThailand
CREATIVE MIXOLOGY
Joseph Boroski &Carson KiefferSip SlowlyThailand
Day #1 CREATIVITY IN SERVICES & CREATIVE ECONOMY
It doesn’t matter if you’re in Innovation or any other field but as long as you talk about foods, people are interested. Why not use food to build a strong relationship in teams.
Revolutions ofinnovative technology(Ingredients availability,Seasonality, Endanger) affect how we eat and cook inThailand and around the world. From food producers to consu-mers, from primary consumers to ready-to-eat consumers, from sophisticated consumers to “yes” consumers.(Price vs Value).
Food is about mood,not just nutrition or filling your-self up.
A good bartender even designs good bartops!
We don’t sell drinks or food; what we sell is guest expe-rience.
SP
EA
KE
RS
’ Q
UO
TE
S
16
Speaking at Creative Bangkok, professor Karndee Leopairote asks that we focus not only on the creative industries, but on the creative economy as a whole. A policy expert, Dr. Karndee evokes the «beautiful chaos» of Bangkok, and takes a service approach to the smart city: «Bangkok is a city of 12M that was planned for 5M», she says. The notion of service thus becomes essential to smoothing the relationships between indivi-duals, institutions and infrastructure, in terms of public policy in the field of urban design.Very few countries can compare to Thailand when it comes to service and hospitality.Fredrik Haren is a world traveler that knows a thing or two about service. He takes a few stabs at the systems and cultures that seem unable to take user experience to the next level. «For a long time», he says, «Amsterdam’s Schiphol air-port was one of the best in the world. The guys
from Changi airport came to observe, analyse and brought back what would make for a 21st century airport. Today, Singapore has overtaken Schiphol by a landslide. And what are the Dutch doing? Nothing.» When it comes to service, com-placency, routine and optimization have taken over the willingness for improvement. Managers look at their biased dashboards and take pride in «satisfaction rates» in the higher 90s. When 97% of your customers say your service is outstanding, they’re probably lying.Or the question is not formulated correctly.Or you’re in Cuba.
Caring and the culture of helpingA brief overview of the co-creation and service design orientation at the Bumrungradinternational Hospital is revealing. Equipped with a «cultural sensitivity office», Bumrungad has referral offices in 16 countries. Operating at approximately 1/10th of the cost of American hospitals, it is with held to standards equivalent or higher than its occidental counterparts. It is interesting to note that, in parallel, some of the work done in the «Fabrique de l’Hospitalité» — a French living lab dedicated to the explora-tion of hospitality in healthcare — is much in line with Bumrungad Hospital’s thinking.
We are moving towards a knowledge economy, that much we know. And while most are working to move out from a culture of mass production, top-down management and one-size-fits-all so-lutions, emerging countries’ organizations are finding creative solutions from the get go.
They embed service design and hospitality into their organizational DNA.
The creative stage is set : more social, more meetings, more humans, coming up with more sophisticated concepts, to produce functional solutions, in a context of beautiful chaos… in that new theatre, one of empathy, service design and hospitality, Thailand is set to take a bigger role, fast.
Bridging the service gap: Thai hospitality and the knowledge economyby Dr.Francis Gosselin
Dr.Francis Gosselin
Full article at:ww.fandco.ca
17
Day #2CREATIVITY IN MEDIA& ENTERTAINMENT
Index Creative Village
18
’’’’ ’’ ’’
’’’’ ’’ ’’THE HISTORY AND FUNDAMENTAL NOTIONS OF CREATIVITY
Patrick CohendetHEC MontrealCo-Founder of MOSAICCanada
Kreingkrai KanjanapokinCo-CEO ofIndex Creative VillageThailand
JAZZ & CREATIVITY
Madanmohan RaoJournalist, author, blogger and consultant in media and managementIndia
HOW DID UBISOFT SINGAPOREFOSTER INNOVATION
Justin Farren
UbisoftSIngapore
Day #2 CREATIVITY IN MEDIA & ENTERTAINMENT
In the 21st century,creativity becomes a way of doing as a collective citizen with the democratization of ideas that support the creation of wealth.
If you know Bangkok or Thailand, you will know how special and how unique it is. Bangkok has been a creative city for centuries. Today Bang-kok is more than the center of Thailand as it also became the center of ASEAN.
The first thing music will do to you is opening up your ideas. It is not just getting an idea butit is unlearn andrejuvenate the ideas, that is the hard one.
Collaboration at the core and commitmentto creativity, we are planting some seeds, and with luck we’ll see some interesting “flowers” come up.
SP
EA
KE
RS
’ Q
UO
TE
S
19
’’ ’’ ’’’’ ’’ ’’
CREATIVE METAPHOR INTERACTIONS TO UNDERSTANDTHE BEHAVIOUR OF INNOVATION
Arthur ShelleyOrganazitional zooAustralia
ADAPTING CREATIVITY TO REACH OUT OF YOUR COMFORT ZONE
Brigitte CarbonneauDirector Business Strategy – Cirque du Soleil Canada
CREATIVITY AT TBWA
Chaipranin Visudhipol Chairman and Chief Client Service – TBWA\THAILANDThailand
Day #2 CREATIVITY IN MEDIA & ENTERTAINMENT
Culture is an outcome of the behavioral interactions in your environment.
Managers need adapta-bility, curiosity, courageand transformationalleadership to succeed in the global economy.
Creativity is not just a skill but an attitude,a rebellious desire to bedifferent.
SP
EA
KE
RS
’ Q
UO
TE
S
20
Participants of Creative Bangkok 2014 engaged in a creative metaphor interaction to assess the impact of behaviour on creativity. Each metaphorical character from The Organizational Zoo represents a behaviour and collectively these can be used to profile what the “behavioural DNA of creativity” looks like. Partici-pants engaged in a fun atmosphere through stimu-lating constructive conversations about the impact of behaviour on creativity.
The metaphor enabled participants to discuss the behaviours separately and without reference to spe-cific people (making it a safe way to discuss beha-viour). Limited exposure to the characters before the intervention enables participants to intuitively make sense of the behaviour and engage with others about how that behaviour impacts for the specific context of creativity.
This approach involves minimal preconception and opens the interaction for maximal challenges to pro-duce a genuine collective set of data. It can be seen that there is a variety in what behaviours people like, and don’t like, when creatively interacting. The metaphor character cards enabled people to engage in constructive conversations about the impact of behaviour. The key point is it not the actual cards selected, it is the insights and understanding of what others appreciate or dislike, gained though these ex-changes that enable better relationships. Armed with these insights, you can be more creative together.
Context: Creative people exchanging perspectives on the impacts of behaviour on creativity.Creative Bangkok in October 2014 was the first im-mersive experience in Asia inspired by the Mosaic Creativity Summer School. From the beginning it was an emergent, interactive and participative experiment. Deliberately people from a range of disci-plines were invited to come together and explore what creativity is and how they could do this more effectively by collaborating and challenging each other.
ApproachThe participants of Creative Bangkok 2014 engaged in assessing what “animals” (Organizational Zoometaphor characters representing behaviours) sti-mulated creativity and which were detrimental to it. The Organizational Zoo (Shelley 2007) character cards were used as the 26 metaphor characters collectively represent the most common behaviours observed in organisations, thereby providing a useful intervention that is both intuitive and fun (Shelley 2011). The tool has been effectively used to stimulate constructive conversations about the im-pact of behaviour on outcomes in a range of
contexts including leadership, collaboration and conflict. The metaphor enables participants to discuss the behaviours separately and in isolation to reference to specific people. Limited exposure to the characters before the intervention enables par-ticipants to intuitively make sense of the behaviour and engage with others about how that behaviour impacts for the specific context of creativity. This approach involves minimal pre-conception and opens the interaction for maximal challenges to produce a genuine collective set of data. A very quick quiz was used to highlight just how easily recognised some of the behavioural stereotypes can be recognised. A cartoon image of a Lion in a personified scene is displayed and the facilitator asks the audience what behaviours they think this represents in single words and shortphrases. Very quickly they responded with words including “Leader”, “Command”, “Control”, Fierce”, Territorial”, Egotistical” and phrases like “King of the jungle”. Other figures are similarly shown (including a Bee - collaborative team work and Owl, suppor-tive knowledgeable mentor, etc) to build confidence that their immediate intuition about the behaviours represented were valid. That is, their initial emotive reaction to the metaphor was real and able to be used by them in the discussion about behavioural impacts (despite them having different preferences for the behaviours- see later).
After the introductory quiz, participants were asked (in small groups) to allocate five character cards into each of four categories, as they thought appropriate for the context of being creative: - Expected (behaviours required for creative out-comes)- Desired (behaviours not absolutely required, but have positive influence on creativity)
The Behavioural DNAof Creativity: Insights fromCreative Bangkok metaphorinteractionDr. Arthur ShelleyThe Organizational Zoo
21
- Tolerated (behaviours not ideal or desirable, prefer not to be displayed)- Not Tolerated (behaviours which have a strong disruptive impact on creativity)
After five characters were selected for each category, six characters were left out (26 characters used in to-tal). These are not considered better or worse that those selected, just not as applicable to this context or as being less relevant to the question.The nine groups were given just 20 minutes to sort the cards. Then participants walked around toobserve other groups’ outputs and discuss similari-ties and differences. A high level analysis of the ove-rall patterns of selection is in the table.Selection outcome #
Char’s
Names of characters selected Likely collective impact of this grouping on environment, based characters’ salient properties.
All groups selected as positive (Expected or Desired)
4/26
15%
Bee, Eagle, Gibbon, Quercus
Collaborative teamwork with inspirational leadership and a fun, trusted and philanthropic environment.
Most groups selected as positive (none selected negative)
3/26
12%
Insect (beneficial), Mouse, Owl
Cross-‐pollinating ideas sharing, with mentoring/nurturing approach and productive task completion orientation.
Mainly positive perceptions with some negative
3/26
12%
Ant, Unicorn, Whale
Productivity that can be slightly off mainstream or idealistic, whilst incorporating intelligent technology.
Balance of positive and negative perceptions
4/26
15%
Dog, Kid, Lion, Yak
Loyalty, naivety with some control and command/process with enthusiasm (even if a little prone to errors).
Mainly negative perceptions with some positive
2/26
12%
Vulture, Xbreed
Propensity to criticise others and some arrogance about cleverness or value of own ideas.
Most groups selected as negative (none selected positive)
10/26
38%
Chameleon, Feline, Hyena, Insect (pestiferous), Jackal, Nematode, Piranha, Rattlesnake, Sloth, Triceratops.
Predominated by political and silo-‐group interests rather the open sharing with all. High level of aggression and competition or change resistant disengagement.
All groups selected as negative
(Tolerated or Not Tolerated)
0/26
None
InsightsIt is clear there are definite patterns in what people DO like for creativity, with Bee, Eagle, Gibbon and Quercus being selected buy every group and Bene-ficial Insect, Mouse and Owl being perceived as po-sitive when selected (though not selected at all by some groups). There is slightly greater diversity in what people tolerate or find disruptive (12), compa-red with what is chosen as positive (10) in the creative context with some being spread across both positive and negative. No two groups generated the same output and yet participants’ could see the logic of each answer in facilitated conversations about the selections. The fact that some groups put some characters in positive and others put it in as a negative generated some rich exchanges between groups. However, similar discus-sions occurred earlier within groups as individuals highlighted why they prefer or found this behaviour disruptive (for this context). This highlights the in-herent diversity of perspectives on what behaviour is helpful and what is not, amongst the individuals and groups and the value in exchanging these views. The discussions in selecting which character belonged to which category were lively and engaging at all tables, despite differences of opinion. This interac-tion supports earlier research, in which the metaphor approach was the was found to enable an engaging atmosphere of fun and helped to de-politicise the ex-change of views (Shelley 2012). More vibrant and in-clusive exchange helps to include more perspectives and therefore more options to potentially develop.A useful insight is that three of the four characters se-lected by ALL groups, were also selected (in another activity with different people in a different country) by all groups when asked to characterise optimal lea-dership (Eagle, Bee and Quercus). It is not surprising that in this environment and the creative way the whole conference was led, that Gibbon also emerged
as essential for creativity (thanks largely to Vincent Ribiere!). Interestingly, in that other activity, there was also more diversity of opinion around disruptors than for stimulants of the right environment. Howe-ver, it is critical to note that many of the behaviours considered disruptors for leadership and creativity will be stimulants of other contexts such as prioritisa-tion (where critique and finding weaknesses in para-mount to success).
Figure 1 (next page) shows the patterns of similarity and difference across the selections made by each group. This is just a short interpretation of the results (although based on the collective results across 45 participants), so not all aspects of this are able to be discussed here in depth. However there are some points worth debating with your friends. For example, why has the Lion been selected in all four categories by different groups and not selected at all by half the groups. Clearly the impact of control and command behaviour is perceived very differently by different people. Alternatively, they were reading the context in a slightly different way (a common challenge in all organisations). Awareness of these differences of perception that can stimulate sparks of creativity and lack of awareness of them can cause conflict. When leading a creative environment, increasing the awa-reness of the impact of behaviours in the team and aligning that through conscious choice with the desi-red context, enables team to collaborate more pro-ductively. That is, make conscious choices about how we behave and interact to secure improved perfor-mance (in whatever we are trying to achieve). Some-times critical behaviours are the optimal behaviour. So it is not “right” or “wrong” behaviour per se - it is alignment to context that counts most.Many insights were drawn by the participants in the conversations at the time and no doubt other insights can be drawn from this data and nuisances it pres-
22
ents. Visualising the data is different ways (photos of outputs, summary tables and graphic “DNA” image) provide further stimulants for creative conversations with others. A key to learning and professional deve-lopment is to challenge oneself with new ideas and others’ perspectives and explore the possibilities and options that emerge. Although you may not agree with everything you exchange, you get more possibi-lities to reflect upon and this helps you to see outside “your box”. That is, challenge your own entrenched patterns of thought and decision-making to evolve your capabilities, by adopting or adapting things you did not know about.As Theodore Zeldin stated: “The kind of conversation I like is one in which you are prepared to emerge a slightly different person.” Are you inclined to act in lion mode and tell, or open yourself to seek the ideas of others through gibbon, owl, eagle and bee?
What is worth highli-ghting is that the interac-tions in the room were vibrant and constructive. The Organizational Zoo metaphor cards are a fun and creative way to sti-mulate dialogue around the impacts of behaviour on creativity amongst a diverse and international group. When conversa-tions about behaviour are actively facilitated in an open and trusted environ-ment, they generate posi-tive outcomes. If the envi-ronment is not conducive to inclusive engagement of different perspectives, the outcomes are limited
(or even disengaging for those involved and undermi-ning trust and or intended outcomes).There is no doubt that this interaction brought about insights for those involved and helped to build connections and stronger relationships. Continuing to stimulate conversations like this amongst your teams and stakeholders over time, will assist you to achieve a creative environment and deliver higher performance. This approach can also be used to faci-litate in difficult conversations. That is, enable chal-lenging behavioural aspects of a situation that would otherwise not be openly talked about! This repre-sents a real benefit, as being able to proactively and constructively discuss such matters, is far better than leaving them to the corrosive corridor conversations that ultimately damage everyone.
ConclusionIt is important to acknowledge that the final outputs (tangible results) of such activities are less important than the outcomes and interactions between the people involved. It can be seen that there is a variety in what behaviours people like, and don’t like, when creatively interacting. Using The Organizational Zoo metaphor enables people to engage in constructive conversations about the impact of behaviour and better align how they interact. The key point is not the actual cards selected, it is the insights and unders-tanding of what others appreciate or dislike gained though these exchanges that enable better relation-ships. Armed with these insights, you can be more creative together. Assume what they like, or that they are just like you, is less effective than engaging in a quick fun activity that brings you closer to understan-ding each other. It can highlight differences in pers-pective that you can each leverage value from. This in itself can be a source for creativity, if you engage with open minds around the differences. Better we understand and leverage these differences than go into conflict over them.
Dr. Arthur Shelley
www.organizationalzoo.com
23
There are many ways to go about creativeexploration. For centuries, the Western world evolved under the cult of the One — one God, one leader, one truth— and became obsessed with the figure of the lone genius. The Creator. It does seem logical, then, that the current inte-rest in the virtues of collective creation would come as a sort ofintellectual liberation in the West. It brings us back to notions of community, universality, and joint accomplishment, ideas that have been somewhat artificially removed from our cultural dynamics by two-hundred years of individualis-tic christianism. Whether or not the collectivist heritage of Northeastern Asian countries can benefit from this sudden epiphany is unsure.
Boxing and unboxing creativityOn Creative Bangkok’s second day, speakers co-vered a variety of ideas relative to the infamous
box of creativity and innovation. A central notion in the economics of creativity, Arthur Koestler’s notion of bissociation was introduced by HEC Montreal’s Prof. Patrick Cohendet as a central tenet of the deboxing of standard procedures.
Bissociation is the systematic parent of ideation and serendipity: it is an act of conscious combi-nation where two (or more) solutions, ideas or universes collide and form an entirely new third space. In the words of TBWA Thailand’s chairman,Chaipranin Visudhipol, the box is actually situa-ted very clearly at the bottom of Maslow’s hie-rarchy of needs. Chaipranin defines the box as a playground where actors compete on the basis of physiological and safety needs: most often physical products, whose main differentiation is price, and the focus is on tangible results.
Outside the box, companies have an opportu-nity to explore love & belonging, self-esteem and the realization of self. In this space, creatives and their communications partners are explo-ring feeling and identity, enlarging significance to the community, the tribe, or the world in its entirety.
MetaphorsFurther along, expanding our horizons can also be a matter of finding new cognitive spaces where ideas, words and concepts can collide. Out of Australia, Arthur Shelley uses a set of animal cards to facilitate what he calls the «Organizational Zoo». In a very intuitive manner,
participants are brought to classify typical beha-viours into categories, so that they can interpret whether their current structure permits out-of-box thinking.
Both Ubisoft’s Justin Farren and Cirque du So-leil’s Brigitte Carbonneau hinted to the power of considering an object, a subject or a concept as asserting it is the same as another’s attributes.From the Canadian multimedia multinational’s perspective, this is especially true in the pro-cessing of «transforming» olympic athletes into artists.
Perhaps the best way to think about boxes and their constraining power is to wish for new beginnings. A tabula rasa, indeed, may be the best context from which to build the greatest dreams; such was Joseph Schumpeter’s idea when he wrote of creative destruction.
Only in this context can we rebuild the collective dynamics that open up new fields of creativity, by promoting simultaneously the virtues of random association as well as the systematic exploration of novelty.
Random associations and the sys-tematic exploration of noveltyBy Dr Francis Gosselin
Full article at:www.fandco.ca
24
Day #3CREATIVITY IN ARTS& DESIGN
Bangkok Art & Culture Center(BACC)
25
’’ ’’ ’’
’’’’ ’’
WELCOME ADDRESS
Dr. LuckanaKunavichayanontDirector of BACCThailand
THE LANGUAGE OF CREATIVITY
Duangrit BunnagFounder – DUANGRIT BUN-NAG ARCHITECT LIMITEDThailand
IN SEARCH OF THAI CRAFTOLOGY
Eggarat WongcharitCEO/Creative Director at Craft Factor Co., Ltd.Thailand
Day #3 CREATIVITY IN ARTS & DESIGN
BACC is truly the place for art lovers. The keywords are openness and co-construction, we have been doing that since the campaign has started, to get as many people involved in the process including artists,stakeholders, publicand politicians.
The past and the future are shaped by us.Keep yourself open for the power of possibility.
Visualization, testing and prototyping help transfer patterns across categories of domains.
SP
EA
KE
RS
’ Q
UO
TE
S
26
’’ ’’ ’’’’
’’’’
CREATIVITY AT COTTO
Anuvat ChalermchaiBrand Director of Tra Chang and COTTOThailand
IS CREATIVITY AN INBORN TALENT?
Amornrat PratoommaDermatoglyphicist – Panya-tara Potential Analysis Centre (P-PAC)Thailand
THE ART OF DESIGN THINKING
Cees de Bont Dean of School of Design Hong-Kong Polytechnic Uni-versityHong-Kong
Day #3 CREATIVITY IN ARTS & DESIGN
Effective design is a combination of innovation, integrity, co-creation and hassle free offerings forcustomers.
Creativity involves two processes: thinking, then produ-cing. If you have ideas, but don’t act on them, you are imagina-tive but not creative. Being ima-ginative is having ideas; being creative is converting ideas intoproduction.
You contribute to the world by making meaningful things, not just new things.
SP
EA
KE
RS
’ Q
UO
TE
S
27
’’ ’’ ’’ ’’
’’ ’’’’
DESIGNING CREATIVE SPACES
Pitupong ChaowakulFounder, Supermachine Stu-dio, BangkokThailand
INNOVATIVE INSIGHTING & IDEATING
Aaron “A” PalileoCo-Founder of BootlegInnovation DesignPhilippines
THINKING IN PICTURES;A RAPID VISUALIZATION WORKSHOP
Jeff HamiltonCreo-modoThailand
CREATIVITY & CONDOMS
Mechai Viravaidya Mechai Viravaidya FoundationThailand
Day #3 CREATIVITY IN ARTS & DESIGN
Playground is always for kids, what about adults? When you think of several types of playground, they always look small and very colorful. They’ve never thought about adults that used to be kids and want to play as well.
Creativity =Differ + Deliver + Delight
Creativity needs to be different.It’s not enough to be different,it has to deliver[...]. So, it has to be different but it has to work. Those two things are classic definitions of creativity.
How to make people understand there’s a problem and a solution needs to be crea-ted. One of the way that we do it is by drawing.
Take NO as a question. Never take NO as an answer.’’
SP
EA
KE
RS
’ Q
UO
TE
S
28
There are 1.5M being trained in design in China right now». Dean at the Hong Kong Polytechnic University, Cees de Bont holds a Ph.D. in indus-trial design. «We are teaching these students design, but its not clear what they’ll do later. Design has become a pervasive skill. Indeed, the pervasiveness of design processes is making its way in all fields and may have a durable influence in how companies are managed, pro-ducts are conceived, and what workplaces look like. The inclusion of design in traditional work prac-tices makes a strong statement. It is pervasive in the commercialisation of art, as well as archi-tecture, engineering, social science and finance. Consulting firms like my own include it as part of their service offerings, deploying design thin-king methodologies that can generate business results.
Design is changingThrough interaction with other disciplines, a process of mutual enrichment has started occur-ring: design practices themselves have changed.In design schools all over the world, the rigour of design training has taken to new heights, encompassing elements that relate to context (knowledge intensive), purpose (social innova-tion) and nature (designers as facilitators). In this last instance, I wrote in Metamorphosis and People of the valley, how biomimicry is in-creasing in popularity and applicability, thanks to advances in the fields of scientific research and computing science. The invention of the Japanese Shinkansen bullet trains sets the bar high in these terms.
The ROI of designIn October 2014, De Bont spoke in Creative Bangkok of the new Hong Kong Poly Design School building. Designed and built by Iranian architect Zaha Hadid, the building cost five times more than a regular building would have in similar conditions. But it was, says its Dean, worth every penny. We are starting to see clear results of how investments in design can yield real dollar results down the road; through talent attraction certainly, but also via increased productivity through ergonomy, physical efficiency of circula-tion as well as inspiration through beauty. Integrating design in new fields promises to yield results that are zeroing in on the idea of interaction, a notion central to every contempo-rary product, service and experience.
It will make our private and public endeavours both more useful, but also more pleasant and humane. And like many other surprising com-binations, it will yield things that we do not expect, nor can even imagine.
And if the increasing popularity of this new nomadism is any indication of things to come, we better start developing the reflexes to engage with them.
Design thinking is not design: design for non-designersDr Francis Gosselin
Full article at:www.fandco.ca
29
Day #4CREATIVITY IN HERITAGE& TOURISM
Bangkok Old CityMuseum Siam
30
’’ ’’’’
’’’’
’’6 SENSES OF SIMPLE LUXURIES WALKSHOP IN OLD CITY BANGKOK
Daniel FraserFounder & Director Smiling AlbinoThailand
WELCOME ADDRESS AND TOUR OF MUSEUM SIAM
Sukumal PhadungsilpMuseum SiamThailand
VERY THAI
Philip Cornwel-SmithAuthor, Very Thai: Everyday Popular CultureThailand
Day #4 CREATIVITY IN HERITAGE and TOURISM
To make it moreefficient, from time to time we actually hire Bangkok Mass Transportation to take us around. That is kind of our way trying to be as eco-friendly as much as possible while still trying to be practical.
Now you can usetechnology to turnback time.
Thai street food - How Thai street culture might be able to tell us something about creativity, how they manage to move a kitchen and a restau-rant to around the streets on three wheels and how they fit all those tools, the chairs and the gas tank and the foods and everything into it.
SP
EA
KE
RS
’ Q
UO
TE
S
31
’’ ’’
’’
’’
BLOGGER OUTREACHAND ENGAGEMENT
Olivier DombeyManaging Director of Digital Innovation Asia (DIA)Thailand
CREATIVITY SCHOOL: FROM BANGKOK TO MONTREAL
Lucy StojakDirector, Summer School on Management of Creativity in an Innovation SocietyCanada
Day #4 CREATIVITY IN HERITAGE and TOURISM
To measure success, look at metrics beyond just online traffic.
Working with bloggers before cooperation. Make clear your goals for the project. Ask for input, work together - blogger knows audiences. Build the relationship, develop trust.
Creativity is a crossroad of Arts, Science, Technology and Business.
SP
EA
KE
RS
’ Q
UO
TE
S
32
While worldwide mobility has increased ma-nyfold over the last century, frequent travellers remains somewhat of a social oddity that pro-duces amazement and envy. No matter how many copies of National Geographic you own, or how often you search for the seven wonders of the world on Google Images, long-distance, tran-satlantic travel has remained the exception,not the rule.
Rotting in your officeIt wasn’t until very recently though that I realized that, while it is very fun to travel to somewhere for work, some people have actually turned this into a lifestyle. But between these highly creative people — whom Richard Florida would callbohemians — and myself, a striking difference: the place where they are does not affect their ability to do the work.
They are, in other words, nomads. Digital no-mads.One of them is my friend Daniel Mireault, with whom I had the chance to connect while in Chiang Mai, in the north of Thailand. Daniel is
a Montreal-based designer who spends several months a year in Southeast Asia. He prefers theweather, certainly, but also the lifestyle; it is laid back, but also more fluid. The city of Chiang Mai boasts several coworking spaces like the two Punspace installations, as well as the Transfor-mative Learning Technologies Lab, in partner-ship with Stanford University.
In other words, to paraphrase Mashable’s re-cent piece on the topic, these people travel the world while you rot in your office. Are they sin-gularly different from others? Perhaps. The Elite Daily wrote recently that it may have to do with people’s DNA… but let’s leave it at that.Post-modern eugenics isn’t my cup of tea.
Engaging the nomadsA former hotel executive now Managing director at Digital Innovation Asia, Olivier Dombey knows a thing or two about engaging with this new ge-neration of uprooted creatives. While we may feel admirative and chose to cele-brate the freedom inherent to the nomad lifes-tyle, some brands are hoping to take advantage of these well traveled individuals. As they wander around the world, these bohemians are ideally positioned to produce extraordinary content for travel blogs, are sufficiently influential to provide
credible hotel reviews, and can act as sources of observations, ideas, and innovationsopportunities.
Wanderlust: wandering to every corner of the earth is a way of life.Dr Francis Gosselin
Full article at:www.fandco.ca
33
Day #5CREATIVITY IN SCIENCES& TECHNOLOGY
Dupont Innovation Center
34
’’ ’’ ’’
’’ ’’’’
DESIGNING INNOVATION: CREATIVE STRATEGIES FOR BUSINESS DESIGN AND INNOVATION
Keith T.E. TanFounder and Principal Consultant of CreativeNexus GroupSingapore
CREATIVITY IN A DONUT WORLD
Nadim SalhaniGroup CEO MUDMANThailand
OPEN INNOVATION
Naphunsakorn (Ronnie) WaiyawuththanapoomIKI-SEAThailand
Day #5 CREATIVITY IN SCIENCES & TECHNOLOGY
Stories curate expe-riences. Design is about infinite possibilities. Design is a mindset of looking at the world with an eye to improve the things we do and the way we do them.
Deep down inside I think there’s an entrepreneurship in each one of us and everyday it’s becoming a lifestyle.
70%-90% of innovations fail. Open innovation is the use of purposive inflows andoutflows of knowledge toaccelerate internal innovation, and expand the markets for external use of innovation,respectively.
SP
EA
KE
RS
’ Q
UO
TE
S
35
’’ ’’ ’’’’ ’’
’’YOUR IDEA IS MY IDEA
Vincent RibièreManaging Director of the Institute for Knowledge and Innovation SouthEast Asia (IKI-SEA)Thailand
INNOVATION PLATFORMS
Thierry IsckiaProfessor of StrategicManagement and InnovationTelecom Business SchoolFrance
Day #5 CREATIVITY IN SCIENCES & TECHNOLOGY
Companies need to connect their Operational Cycle to their Innovation Cycle. The basics elements of creativity are copy, transform and combine past knowledge.
We believe science and technology are global but inno-vation is local. That’s why many countries globally now have innovation center to work withcustomers.
Platform thinking = Software design + Market design + Agility. Becoming a platform leader is a very tricky business. Platform has always been there. Today everyone is networked with everything. Just think about M2M, Machine to Machine, this will be the value deposit for the next 10 to 20 years.
MARKET-DRIVEN SCIENCE AND INNOVATION FOR SUSTAINABILITY
Somchai LaohverapanichManaging Director,DuPont ThailandThailand
SP
EA
KE
RS
’ Q
UO
TE
S
’’
’’THE HISTORY AND FUNDAMENTAL NOTIONS OF CREATIVITY
Patrick CohendetHEC MontrealCo-Founder of MOSAICCanada
Ideas are at the core of the modern economy.We are not just in the creative economy, but in the re-creative economy. Are you a creator or a re-creator?
36
’’ ’’ ’’
’’ ’’’’
LEGO SERIOUS PLAY WORKSHOP FORGING STRATEGY VIA THE POWER OF METAPHOR
Francis GosselinFounding partner of f. & Co.Canada
INNOVATION at NASA
Juan RomanNASAUSA
HOW THE SWATCH WASDESIGNED & CONCEIVED
Gilles GarelProfessor of innovation Management at CnamFrance
Day #5 CREATIVITY IN SCIENCES & TECHNOLOGY
We are entering into an era of a storytelling, urging us to build narrative, to build a story around what we do. What is great about LEGO is that you can build something that is already there into a platform, into a story.
Innovation =Inspiration + Perspiration + Perseverance. Our mission is to innovate, to explore, to discover and to inspire the next genera-tion of scientists and engineers and explorers and we take that challenge and mission very seriously.
All human societies design. The notion of design is rooted in different traditions; art, architecture, engineering, decision. There is no unified representation of the design.
SP
EA
KE
RS
’ Q
UO
TE
S
37
PortfoliosBurgeoning enterprises and the entrepreneurs behind them are in fact acting more and more like brand portfolio managers; whether develo-ping horizontally like we have been, or vertically by adding new products and services with self-standing identities.
Moreover, products and services are increasingly internationalized from the get-go, meaning that entrepreneurs and managers must not only dis-tinguish between several brands, but must consi-der how these brands will be constructed in the minds of various nationalities, ethnic groups and cultural geographies.
Such is the case of Nadim Salhani, a serial entre-preneur who spoke at Creative Bangkok 2014. After spending several years as General Mana-gers for Starbucks in Thailand, Salhani became
CEO of Mudman, an holding that operates seve-ral international brands from exclusive licenses: Dunkin Donuts, Au Bon Pain and Baskin Robbins among others. Many cities around the world are populated by such activators.
Questions for wandering mindsExamples such as Salhani’s beg the question: how do you know when to stop lateral expan-sion, horizontal exploration, diversification into new fields, new projects, new possibilities? These days, as I weight the possibility of investing some time and energy in new business opportu-nities as diverse as an international speakers’ bu-reau or an e-commerce initiative, I wonder; why do these things even appear feasible? And where does it stop?
Another stream of questions concerns the effi-ciency of a portfolio approach to entrepreneur-ship ; what if your brands are market rivals to one or another. Or more probable yet, what if they rival for your attention? How do you between chose then? Do you pick the most profitable? The most amusing? The most promising?
In a VC-backed setting, profit certainly isn’t a cri-teria you’ll want to aim for, as most firms are in fact losing money — and lots of it — on a monthly basis. In this universe, being cashflow positive signals early death. But amusement isn’t much better. And promise? Too speculative for some. With all the noise around VCs, incubators and ac-celerators, one thing seems certain: brands can-not live on their own, and no matter the size of
your portfolio, you’ll always need great people to feed them. Projects, communities, products and services are no longer conceived at the top and trickled down to those who benefit from them. Rather, those are build from the ground up. A portfolio is only as strong as the ecosystem in which it exists. And for that purpose, proper rela-tional curation is probably more important than any other set of resources; material, financial or technological.
You can read the full article at: www.fandco.caIf you start something, finish it.
Dr. Francis Gosselin
38
Day #6CREATIVITY AND THE MIND& SOCIAL INNOVATION
Chakrawat Temple
39
’’ ’’ ’’’’
’’ ’’CREATIVITY & MEDITATIONWORKSHOP
Phramaha Dr. VichienVachirawongsoThailand - India
MINDFULNESS AT GOOGLE
Johan SegergrenGoogleThailand
THE CREATIVE YOU: ACHIEVING A WHOLE BRAIN STATE.
Dr Alex BennetBangkok University &Mountain Quest InstituteUSA
Day #6 CREATIVITY AND THE MIND AND SOCIAL INNOVATION
Many things in this world are necessary to know and unnecessary to know but we must know and after we know we can protect ourselves.
Search inside yourself! Employees started to meditate and reflect on their thinking, understanding what drives them to do different things or why they are acting in a specific way [...] and describe medita-tion in the context of coding for new ages to understand how the mind works.
Shift your frame of reference. Realize that all you see around you, the reality we perceive is a small stage upon which you act, and within it is an inner spaciousness that is infinite. Let’s now explore the infinite.
SP
EA
KE
RS
’ Q
UO
TE
S
40
’’ ’’ ’’’’ ’’ ’’
PIONEERS OF THE NEW WORLD
Catherine BerthillierShamengo.comFrance
SOCIAL INNOVATION CANVASWORKSHOP
Christian WalterIKI-SEAThailand
ARE YOUR TEAMS FINDING CREATIVE SOLUTIONS TO COMPLEX PROBLEMS?
Peter CauweilerASIO ConsultingThailand
Day #6 CREATIVITY AND THE MIND AND SOCIAL INNOVATION
We offer a collaborative platform where people can gather and work with a pioneer to develop their socialinnovation.
In order to have an enterprise that can sustain itself, it should generate reve-nues but it should also be able to draw finances and funds from different sources.
Questions are both the most powerful and most under-utilized tools for creativity and intellectual activity.
SP
EA
KE
RS
’ Q
UO
TE
S
41
As I uncovered various creative perspectives on Bang-kok this last week, I was treated to a tour organized by Bangkok’s funkiest travel agency, Smiling Albino. The company was founded in 1999 by two crazy Ca-nadians, Scott Coates and Daniel Fraser, to «bring a unique travel experience […] the result of continuous travel, innovation and refinement».
Unique, here, is the keyword. As we strolled through the streets of the City of Angels for a few hours (we actually loved it so much we called for a second pri-vate tour a few days later), it truly felt like we were on an adventure worthy of a Casey Neistat stunt. Yet it became clear that everyone we met, including our tour guide, were for real.
The new luxuryOur friend and cllbr Paris correspondent Gregory Casper likes to think and write about how Gen Y’s relationship to luxury is very different from that of previous generations. In Casper’s words, luxury items have become dissociated from extraordinary
circumstance and are increasingly embedded in our daily lives. For several individuals, luxurious products are considered durable investments in their identity; something they can display, wear, inhabit and pro-mote as an extension of their public persona.
If luxury as a concept is losing its power as an element of superficial prestige, it is gaining in other attributes. The new luxury — from fashion, to travel, to educa-tion — consists of custom-made, experiential, rela-tional and narratable experiences. It is the product of on-going self-appraisal, of learning about oneself and the world.
Custom-made, experiential, relational and narra-tableSeveral luxury brands today have understood the necessity to exit the system of «quality mass produc-tion» to enter a new era of specificity where every item and every experience is unique (or at least, feels that way). Long gone are the days where, for instance, luxury travel consisted of 5-star hotels and private dri-vers to take tourists from their resorts to air-conditio-ned shopping malls. Today, high end travellers want to experience something they feel was designed for them, not for the greater masses: they want to be roc-ked, sit close to the water, get their shoes and hands dirty, surrounded by local smells, tastes, sights and people. What sets Smiling Albino’s value proposal aside from other experiential learning programs is their ability to invent such experiences through continuous interac-tion with select hosts and service providers. The same can be said of Creative Bangkok — by all means, a breakthrough in terms of creative pedagogy —, sketching a relatable thread between individuals, venues and activities.
Its guides do so by building sustained relationships with hosts as well as with adventurers. Rates may be higher, guests pay willingly, and return in vast num-bers. In the case of the travel agency, this has led the company to expand to Nepal, Cambodia, Myanmar and Vietnam. For Creative Bangkok, this may mean sustainable leadership in its ability to serve as a worldwide hub for such further initiatives.
As it looks further to its second edition, Creative Bangkok has also inspired individuals with an intent to produce programs in the Philippines, Bahreïn, and maybe elsewhere. We will be very interested to find out how Bangkok can play a defining role in the co-ming of age of Middle Eastern and Asian creativity.
This new type of learning experience promises to de-liver more in the years to come, with a view towards genuine and authentic jumps into local realities. In this new luxury of travel and education, your tour guide is actually part of the group, hands dirty, eyes shinny, and fully involved in the action.
We look forward to more. And so should you!
Learning in the age ofauthenticity.Dr Francis Gosselin
Full article at:www.fandco.ca
42
The non-profit Khlong Toey Music Program (KTMP) makes it possible for underprivile-ged kids in Bangkok to learn a life-changing art, make positive connections with others, dream big, and have lots of fun in theprocess. Through music, kids can open doors to new opportunities while inwardly buildingcalmness, presence, joy and a drive to express themselves.
As part of its contribution to local communi-ties, Creative Bangkok invited a kid’s band of the Khlong Toey Music Program to play du-ring the event. Creative Bangkok was happy to offer to the kids some new drums as well as a check to buy some other Music school necessities.
If you also want to learn more about KTMP and help this program, please visit:http://khlongtoeymusicprogram.com
Donation to the Klong Toey Music Program
43
Siam Niramit Bo.Lan River Cruise
Cabbages & Condoms Calypso Cabaret
S O C I A L E V E N T S
44
Creative Bangkok would like to thank its lovely sponsor:
45
A BIG thank youto all our greatspeakers
46
Thank you to allthe participating companies
47
21 26February
2016BANGKOK
ASIAN SYMPOSIUM ON
CREATIVITY & INNOVATION MANAGEMENT
WWW.CREATIVEBANGKOK.ORG
Unleash your creative potential and its value for your organization
Join us for the next edition of Creative Bangkok
48
![VantagePointSelectionforIPv6Measurements · Introduction SystemTags Dual-StackedProbes Byregion Bynetwork Whoconnectsfaster? UserTags Takeway Introduction|RIPEAtlas[1,2] Aplatformofhardware](https://img.pdfslide.us/doc/110x75/6050dc198232493e2e5aaa1f/vantagepointselectionforipv6measurements-introduction-systemtags-dual-stackedprobes.jpg)
