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Barbara Lindsey

gladwell dot com - designs for working - 0 views

  • The task of the office, then, is to invite a particular kind of social interaction--the casual, nonthreatening encounter that makes it easy for relative strangers to talk to each other. Offices need the sort of social milieu that Jane Jacobs found on the sidewalks of the West Village. "It is possible in a city street neighborhood to know all kinds of people without unwelcome entanglements, without boredom, necessity for excuses, explanations, fears of giving offense, embarrassments respecting impositions or commitments, and all such paraphernalia of obligations which can accompany less limited relationships," Jacobs wrote. If you substitute "office" for "city street neighborhood," that sentence becomes the perfect statement of what the modern employer wants from the workplace.
    • Barbara Lindsey
       
      This reminds me of the strength of weak ties argument.
  • In the war-room study, the company moved the client, the programmers, and a manager into a dedicated conference room, and made them stay there until the project was done. Using the war room cut the software-development time by two-thirds, in part because there was far less time wasted on formal meetings or calls outside the building: the people who ought to have been bumping into each other were now sitting next to each other.
  • The agency is in a huge old warehouse, three stories high and the size of three football fields. It is informally known as Advertising City, and that's what it is: a kind of artfully constructed urban neighborhood. The floor is bisected by a central corridor called Main Street, and in the center of the room is an open space, with café tables and a stand of ficus trees, called Central Park. There's a basketball court, a game room, and a bar. Most of the employees are in snug workstations known as nests, and the nests are grouped together in neighborhoods that radiate from Main Street like Paris arrondissements. The top executives are situated in the middle of the room. The desk belonging to the chairman and creative director of the company looks out on Central Park. The offices of the chief financial officer and the media director abut the basketball court. Sprinkled throughout the building are meeting rooms and project areas and plenty of nooks where employees can closet themselves when they need to.
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  • A vital community, in Jacobs's view, required more than the appropriate physical environment. It also required a certain kind of person, who could bind together the varied elements of street life.
  • What Stephenson's X-rays do best, though, is tell you who the public characters are. In every network, there are always one or two people who have connections to many more people than anyone else. Stephenson calls them "hubs," and on her charts lines radiate out from them like spokes on a wheel. (Bernie the candy-store owner, on Jacobs's Hudson Street, was a hub.) A few people are also what Stephenson calls "gatekeepers": they control access to critical people, and link together a strategic few disparate groups. Finally, if you analyze the graphs there are always people who seem to have lots of indirect links to other people--who are part of all sorts of networks without necessarily being in the center of them. Stephenson calls those people "pulsetakers." (In Silicon Valleyspeak, the person in a sea of cubicles who pops his or her head up over the partition every time something interesting is going on is called a prairie dog: prairie dogs are pulsetakers.)
  • she pointed to the lines connecting that department with other departments. "They're all coming into this one place," she said, and she showed how all the lines coming out of marketing converged on one senior executive. "There's very little path redundancy. In human systems, you need redundancy, you need communication across multiple paths."
  • What concerned Stephenson wasn't just the lack of redundancy but the fact that, in her lingo, many of the paths were "unconfirmed": they went only one way.
  • What you want to do is put people who don't trust each other near each other. Not necessarily next to each other, because they get too close. But close enough so that when you pop your head up, you get to see people, they are in your path, and all of a sudden you build an inviting space where they can hang out, kitchens and things like that. Maybe they need to take a hub in an innovation network and place the person with a pulsetaker in an expert network--to get that knowledge indirectly communicated to a lot of people."
  • it's clear that there are some very simple principles from the study of public characters which ought to drive the design process. "You want to place hubs at the center," Joyce Bromberg, the director of space planning, says. "These are the ones other people go to in order to get information. Give them an environment that allows access. But there are also going to be times that they need to have control--so give them a place where they can get away. Gatekeepers represent the fit between groups. They transmit ideas. They are brokers, so you might want to put them at the perimeter, and give them front porches"--areas adjoining the workspace where you might put little tables and chairs. "Maybe they could have swinging doors with white boards, to better transmit information. As for pulsetakers, they are the roamers. Rather than give them one fixed work location, you might give them a series of touchdown spots--where you want them to stop and talk. You want to enable their meandering."
  • The point of the new offices is to compel us to behave and socialize in ways that we otherwise would not--to overcome our initial inclination to be office suburbanites. But, in all the studies of the new workplaces, the reservations that employees have about a more social environment tend to diminish once they try it. Human behavior, after all, is shaped by context, but how it is shaped--and whether we'll be happy with the result--we can understand only with experience.
Celeste Arrieta

Garr Reynolds/Presentations - 0 views

    • Celeste Arrieta
       
      SIMPLICITY!!
  • you have to think very hard about what to include and what can be left out.
  • essence
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  • message
  • audience could remember only three things about your presentation,what would you want it to be?
  • analog
  • the best presenters often scratch out their ideas and objectives with a pen and paper.
  • whiteboard
  • sketch out my ideas
  • write down ke
  • points
  • outline and structure
  • speaking and connecting to an audience
  • persuade
  • storyboard
  • I draw sample images that I can use to support a particular point, say, a pie chart here, a photo there, perhaps a line graph
  • content to flow
  • notes
  • iStockphoto.com
  • presentation structure
  • logic of your content and the flow of the presentation
  • (so what?
  • "sell" your message in 30-45 seconds. I
  • essence of your presentation content and write it on the back of a business card?
  • Good presentations include stories. The best presenters illustrate their points with the use of storie
  • relevant
  • remember
  • memorable
  • remember
  • Good stories have interesting, clear beginnings, provocative, engaging content in the middle, and a clear, logical conclusion
  • rehearsed
  • several times
  • What is the purpose of the event?
  • Who is the audience?
Barbara Lindsey

The Device Versus the Book -- Campus Technology - 0 views

  • reading for learning is not the same activity as reading for pleasure, and so the question must be asked: Do these devices designed for the consumer book market match up against the rigors of academic reading?
  • Each school ran its pilot in courses that used texts without color graphs or complex illustrations, so that the known limitations of the devices’ E Ink grayscale electronic-paper display wouldn’t be a hindrance in the students’ learning.
  • There were qualities of both the Kindle DX and Sony Reader that the students felt showed promise, and that made them enthusiastic for the day when e-readers’ functionality as an academic tool becomes a reality. These features include the easy-to-read E Ink screen; the size, weight, and durability of the devices; and the long battery life. But students encountered limitations in the devices that made them inadequate for reading academic texts.
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  • students need to be able to highlight important passages, make notes in the margins of the text, and quickly skim through passages to refresh and compare information. In all three pilots, the students felt that e-readers were not yet ready to meet these academic needs.
  • the Kindle’s small keyboard makes the annotation process very labor-intensive
  • Because the keyboard is so small, and because there was a significant latency between typing the note and the note appearing on screen, a lot of students found that they were overtyping. Many of the students got fed up with the keyboard, so they would just read on their Kindle and make notes in a separate notebook.” Also, the Kindle allows readers to make annotations only in e-book-format files, meaning that students couldn’t insert notes on any PDF-format files that were on the devices. “I think the first [e-reader] manufacturer that figures out how to make a PDF that you can also annotate is going to snag this market,” Temos predicts.
  • He is hesitant, though, to say that this problem is primarily because of a deficiency in the device, when it could just as easily be that the students need to adapt to using a new technology. “[ASU is] going to look at whether this is something that students get used to in the second semester of the pilot and eventually prefer, or if it remains consistent that they continue to prefer paper,” he says. “I think we don’t know that yet.”
  • Highlighting text with the Kindle was not much easier or more satisfying for Princeton students. Much of the difficulty was due to the inability to highlight in color on the grayscale E Ink screen. “The highlighting on the Kindle isn’t actually highlighting; it just makes an underline,” Temos explains. “The students want something more emphatic than that.” Students also found it awkward to highlight long passages using the trackball. “Highlighting over a page break on the Kindle is a real feat,” Temos laughs. “If you actually extend your highlight from one page to the next you feel a real sense of accomplishment.”
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