John Maeda: How art, technology and design inform creative leaders

Translator: Joseph Geni Reviewer: Morton Bast

Prevoditelj: Igor Pureta Recezent: Ivan Stamenković

I have to say that I'm very glad to be here.

Moram reći da mi je zaista drago što sam ovdje.

I understand we have over 80 countries here,

Razumijem da ovdje imamo preko 80 zemalja svijeta,

so that's a whole new paradigm for me to speak

što je potpuno nova paradigma za mene da pričam

to all of these countries.

svim ovim državama.

In each country, I'm sure you have this thing called

U svakoj državi, vjerujem da ste čuli za

the parent-teacher conference.

informacije u školi.

Do you know about the parent-teacher conference?

Jeste li čuli za informacije u školama?

Not the ones for your kids, but the one you had as a child,

Ne one za vašu djecu, već one koje ste imali kao

where your parents come to school and your teacher

dijete, gdje vaš roditelj dolazi u školu i vaš nastavnik

talks to your parents, and it's a little bit awkward.

razgovara s vašim roditeljima i pomalo je neugodno.

Well, I remember in third grade, I had this moment

Sjećam se, u trećem razredu, postojao je trenutak

where my father, who never takes off from work,

u kojem je moj otac, koji se nikad ne skida s posla,

he's a classical blue collar, a working-class immigrant person,

klasični imigrant u radničkoj klasi,

going to school to see his son, how he's doing,

došao u školu vidjeti svog sina i kako mu ide,

and the teacher said to him, he said, "You know,

i učiteljica mu je rekla, "Znate,

John is good at math and art."

John je dobar u matematici i umjetnosti."

And he kind of nodded, you know?

On je nekako kimnuo.

The next day I saw him talking to a customer at our

Sljedeći dan sam ga vidio kako priča s klijentom

tofu store, and he said, "You know, John's good at math."

na našem štandu s tofuom i rekao je, "Znaš, John je dobar u matematici."

(Laughter)

(Smijeh)

And that always stuck with me all my life.

To je ostalo sa mnom cijeli moj život.

Why didn't Dad say art? Why wasn't it okay?

Zašto tata nije rekao umjetnost? Zašto to nije u redu?

Why? It became a question my entire life, and

Zašto? To je postalo pitanje mog cijelog života,

that's all right, because being good at math meant

i to je u redu, jer to što sam dobar u matematici je značilo

he bought me a computer, and some of you remember

da mi je kupio računalo, i neki od vas se sjećaju

this computer, this was my first computer.

ovog računala, to je bilo moje prvo.

Who had an Apple II? Apple II users, very cool. (Applause)

Tko je imao Apple II? Korisnici Applea II jako fora. (Pljesak)

As you remember, the Apple II did nothing at all. (Laughter)

Kako se i sjećate, Apple II nije radio baš ništa. (Smijeh)

You'd plug it in, you'd type in it and green text would come out.

Upisali biste nešto i pojavio bi se zeleni tekst.

It would say you're wrong most of the time.

Uglavnom bi pisalo: Greška.

That was the computer we knew.

Takvo računalo smo poznavali.

That computer is a computer that I learned about

O istom tom računalu sam učio pohađajući

going to MIT, my father's dream. And at MIT, however,

MIT, san mog oca. Na MIT-u sam, štoviše,

I learned about the computer at all levels,

učio o računalima na svim razinama,

and after, I went to art school to get away from computers,

i kasnije, krenuo sam u umjetničku školu, kako bih se maknuo od računala,

and I began to think about the computer as more of

i počeo razmišljati o računalima više kao

a spiritual space of thinking.

o duhovnom prostoru za razmišljanje.

And I was influenced by performance art --

Na mene je utjecala umjetnost performansa

so this is 20 years ago. I made a computer out of people.

i ovo se dogodilo prije 20 godina. Napravio sam računalo od ljudi.

It was called the Human Powered Computer Experiment.

Zvalo se Računalni eksperiment pokretan ljudima.

I have a power manager, mouse driver, memory, etc.,

Imao sam upravitelja napajanja, program za pokretanje miša, memoriju, itd.,

and I built this in Kyoto, the old capital of Japan.

i ovo sam napravio u Kyotu, staroj prijestolnici Japana.

It's a room broken in two halves.

To je raspolovljena soba.

I've turned the computer on,

Uključio sam računalo,

and these assistants are placing a giant floppy disk

i asistenti su postavili ogromnu disketu

built out of cardboard, and it's put into the computer.

izrađenu od kartona, i stavili je u računalo.

And the floppy disk drive person wears it. (Laughter)

Program za upravljanje disketom oblači disketu. (Smijeh)

She finds the first sector on the disk, and

Pronalazi prvi sektor na disku i

takes data off the disk and passes it off to, of course, the bus.

uzima podatke s diska te ih šalje, naravno, sabirnici.

So the bus diligently carries the data into the computer

Sabirnica marljivo nosi podatke u računalo

to the memory, to the CPU, the VRAM, etc.,

u memoriju, procesor, radnu memoriju, itd.

and it's an actual working computer. That's a bus, really. (Laughter)

i zapravo je funkcionalno računalo. To je sabirnica, stvarno... (Smijeh)

And it looks kind of fast. That's a mouse driver,

I izgleda brzo. To je program za upravljanje mišem,

where it's XY. (Laughter)

gdje je XY. (Smijeh)

It looks like it's happening kind of quickly, but it's actually

Izgleda kao da se brzo događa,

a very slow computer, and when I realized how slow

no to je zapravo vrlo sporo računalo, i kada sam shvatio koliko

this computer was compared to how fast a computer is,

je sporo u usporedbi s pravim računalom,

it made me wonder about computers and technology in general.

natjeralo me da razmislim o računalima i tehnologiji.

And so I'm going to talk today about four things, really.

Stoga ću danas pričati o 4 stvari.

The first three things are about how I've been curious

Prve tri stvari su o tome kako sam bio znatiželjan

about technology, design and art, and how they intersect,

u vezi tehnologije, dizajna i umjetnosti, te kako se sjeku,

how they overlap, and also a topic that I've taken on

kako se preklapaju, i također tema koju sam preuzeo otkad sam

since four years ago I became the President

prije 4 godine postao predsjednik

of Rhode Island School of Design: leadership.

Škole dizajna na Rhode Islandu -- rukovodstvo.

And I'll talk about how I've looked to combine

I pričati ću o tome kako sam htio povezati

these four areas into a kind of a synthesis, a kind of experiment.

ova 4 elementa u svojevrsnu sintezu, svojevrstan eksperiment.

So starting from technology,

Počevši od tehonolgije,

technology is a wonderful thing.

tehnologija je predivna stvar.

When that Apple II came out, it really could do nothing.

Kad je Apple II izašao, stvarno nije mogao ništa.

It could show text and

Mogao je pokazivati tekst i

after we waited a bit, we had these things called images.

nakon što smo čekali malo, imali smo ove stvari koje su se nazivale slikama.

Remember when images were first possible with a computer,

Sjećate se kada su prve slike bile moguće na

those gorgeous, full-color images?

računalima, te predivne slike u bojama?

And then after a few years, we got CD-quality sound.

Nakon nekoliko godina, dobili smo zvuk CD kvalitete.

It was incredible. You could listen to sound on the computer.

Bilo je nevjerojatno. Mogli ste slušati zvuk na računalu.

And then movies, via CD-ROM. It was amazing.

Tada i filmove, putem CD-a. Bilo je nevjerojatno.

Remember that excitement?

Sjećate se tog uzbuđenja?

And then the browser appeared. The browser was great,

Tada se i preglednik pojavio. Preglednik je bio super,

but the browser was very primitive, very narrow bandwidth.

ali je preglednik bio vrlo primitivan, vrlo ograničen.

Text first, then images, we waited,

Prvo tekst, onda slike, čekali smo,

CD-quality sound over the Net,

zvuk CD kvalitete preko mreže,

then movies over the Internet. Kind of incredible.

pa i filmovi putem interneta. Prilično nevjerojatno.

And then the mobile phone occurred,

A onda se pojavio mobitel,

text, images, audio, video. And now we have iPhone,

tekst, slike, zvuk, video. Sada imamo iPhone,

iPad, Android, with text, video, audio, etc.

iPad, Android, s tekstom, videom, audiom, itd.

You see this little pattern here?

Vidite mali obrazac ovdje?

We're kind of stuck in a loop, perhaps, and this sense

Zapeli smo u petlji i ovaj smisao

of possibility from computing is something I've been

mogućnosti iz računalstva je nešto što sam

questioning for the last 10 or so years,

preispitivao zadnjih 10 godina,

and have looked to design, as we understand most things,

gledao u dizajn, kako razumijemo većinu stvari,

and to understand design with our technology has been a passion of mine.

i kako je razumjeti dizajn s našom tehnologijom bila moja strast.

And I have a small experiment to give you a quick design lesson.

Imam mali eksperiment kroz koji ću vam dati kratku lekciju iz dizajna.

Designers talk about the relationship between form

Dizajneri pričaju o vezama između forme

and content, content and form. Now what does that mean?

i sadržaja, sadržaj i forma. Što to znači?

Well, content is the word up there: fear.

Sadržajna riječ gore napisana je: strah.

It's a four-letter word. It's a kind of a bad feeling word, fear.

Riječ ima 5 slova. Nekako je riječ s lošim osjećajem, strah.

Fear is set in Light Helvetica, so it's not too stressful,

Strah je stavljen u font Light Helvetica, dakle nije previše stresan,

and if you set it in Ultra Light Helvetica,

a ako ga postavite u Ultra Light Helveticu

it's like, "Oh, fear, who cares?" Right? (Laughter)

postaje, "Oh, strah, koga boli briga?" Zar ne? (Smijeh)

You take the same Ultra Light Helvetica and make it big,

Uzmete isti font i povećate ga,

and like, whoa, that hurts. Fear.

odjednom je osjecaj, vau, to boli. Strah.

So you can see how you change the scale, you change

Možete vidjeti kako se izmjenom veličine,

the form. Content is the same, but you feel differently.

mijenja forma. Sadržaj je isti, no osjećaj je drugačiji.

You change the typeface to, like, this typeface,

Promijenite font u, recimo, ovaj font,

and it's kind of funny. It's like pirate typeface,

i nekako je smiješno. Piratski font,

like Captain Jack Sparrow typeface. Arr! Fear!

kao font kapetana Jacka Sparrowa. Arr! Strah!

Like, aww, that's not fearful. That's actually funny.

To ustvari i nije strašno. Zapravo je smiješno.

Or fear like this, kind of a nightclub typeface. (Laughter)

Ili strah ovako, nekakav font noćnog kluba (Smijeh)

Like, we gotta go to Fear. (Laughter)

Moramo ići u Strah. (Smijeh)

It's, like, amazing, right? (Laughter) (Applause)

Odlično je, zar ne? (Smijeh) (Pljesak)

It just changes the same content.

Promijeni isti sadržaj.

Or you make it -- The letters are separated apart,

Ili, slova su odvojena,

they're huddled together like on the deck of the Titanic,

spojena zajedno kao na palubi Titanica,

and you feel sorry for the letters, like, I feel the fear.

i žao vam je slova, osjećate strah.

You feel for them.

Suosjećate s njima.

Or you change the typeface to something like this.

Ili promijenite font u nešto ovako.

It's very classy. It's like that expensive restaurant, Fear.

Vrlo profinjeno. Kao onaj skupi restoran, Strah.

I can never get in there. (Laughter)

Nikad ne mogu ući unutra. (Smijeh)

It's just amazing, Fear. But that's form, content.

Jednostavno čudesno, Strah. No, to je forma, sadržaj.

If you just change one letter in that content,

Ako promijenite jednu riječ u tom sadržaju

you get a much better word, much better content: free.

dobit ćete puno bolju riječ, puno bolji sadržaj: slobodno.

"Free" is a great word. You can serve it almost any way.

"Slobodno" je odlična riječ. Možete ju poslužiti gotovo na bilo koji način.

Free bold feels like Mandela free.

"Slobodno" podebljano podsjeća na Mandelu.

It's like, yes, I can be free.

Kao da govori, da, mogu biti slobodan.

Free even light feels kind of like, ah, I can breathe in free.

"Slobodno" čak i svijetlo se čini kao da se sloboda može udahnuti.

It feels great. Or even free spread out,

Osjećaj je super. Čak i "slobodno" rašireno,

it's like, ah, I can breathe in free, so easily.

podsjeća na slobodno disanje, tako jednostavno.

And I can add in a blue gradient and a dove,

Mogu dodati i plavu pozadinu i golubicu,

and I have, like, Don Draper free. (Laughter)

i dobio sam "slobodno" poput Dona Drapera. (Smijeh)

So you see that -- form, content, design, it works that way.

Vidite kako forma, sadržaj i dizajn funkcioniraju.

It's a powerful thing. It's like magic, almost,

Moćna je to stvar, gotovo kao čarolija,

like the magicians we've seen at TED. It's magic.

kao čarobnjaci koje smo vidjeli na TED-u. To je čarolija.

Design does that.

To radi dizajn.

And I've been curious about how design and technology intersect,

Bio sam znatiželjan kako se dizajn i tehnologija preklapaju.

and I'm going to show you some old work I never really

Pokazat ću vam neke stare

show anymore, to give you a sense of what I used to do.

radove, koje više nikome i ne pokazujem, da shvatite što sam radio.

So -- yeah.

Dakle, da.

So I made a lot of work in the '90s.

Radio sam puno u 90-ima.

This was a square that responds to sound.

Ovo je bio kvadrat koji je reagirao na zvuk.

People ask me why I made that. It's not clear. (Laughter)

Ljudi me pitaju zašto sam to učinio. To nije potpuno jasno. (Smijeh)

But I thought it'd be neat for the square

No, mislio sam da je super da kvadrat

to respond to me, and my kids were small then,

reagira na moj glas i moji mali klinci

and my kids would play with these things, like, "Aaah,"

bi se igrali s tim stvarima tako da bi govorili "Aaaa"

you know, they would say, "Daddy, aaah, aaah." You know, like that.

govorili bi "Tata, aaaa, aaaa."

We'd go to a computer store, and they'd do the same thing.

Išli bismo u dućan s računalima i oni bi učinili

And they'd say, "Daddy, why doesn't the computer respond to sound?"

istu stvari i rekli "Tata, zašto računalo ne reagira na zvuk?"

And it was really at the time I was wondering why doesn't the computer respond to sound?

U to vrijeme sam se stvarno i pitao zašto računalo ne reagira na zvuk.

So I made this as a kind of an experiment at the time.

Stoga sam napravio mali eksperiment.

And then I spent a lot of time in the space of

Proveo sam mnogo vremena u prostoru

interactive graphics and things like this, and I stopped doing it because

interaktivnih grafika i sličnih stvari, te sam prestao s time,

my students at MIT got so much better than myself,

jer su moji učenici na MIT-u postali previše bolji od mene

so I had to hang up my mouse.

pa sam morao objesiti miš.

But in '96, I made my last piece. It was in black and white,

U '96, napravio sam zadnji rad. Bio je crno bijel,

monochrome, fully monochrome, all in integer mathematics.

monokroman, sve integralna matematika.

It's called "Tap, Type, Write."

Nazvan je "Udari, tipkaj, piši."

It's paying a tribute to the wonderful typewriter

To je odavanje počasti predivnom pisaćem stroju

that my mother used to type on all the time as a legal secretary.

koji je moja majka koristila kao tajnica pravnika.

It has 10 variations. (Typing noise)

Ima 10 varijacija.

(Typing noise)

(Zvuk tipkanja)

There's a shift.

Ovdje je prijelaz.

Ten variations. This is, like, spin the letter around.

Deset varijacija. Ovo je okretanje slova.

(Typing noises)

(Zvukovi pisanja)

This is, like, a ring of letters. (Typing noises)

Ovo je prsten od slova.

This is 20 years old, so it's kind of a --

Ovo je staro 20 godina pa je pomalo...

Let's see, this is —

Da vidimo, ovo je —

I love the French film "The Red Balloon."

Volim francuski film "Crveni balon"

Great movie, right? I love that movie. So,

Odličan film, zar ne? Volim taj film.

this is sort of like a play on that. (Typing noises) (Typewriter bell)

Ovo je svojevrsna igra na to.

It's peaceful, like that. (Laughter)

Mirno je. (Smijeh)

I'll show this last one. This is about balance, you know.

Pokazat ću ovaj zadnji. Ovo je vezano za ravnotežu.

It's kind of stressful typing out, so if you

Pomalo je stresno tipkati, pa ako

type on this keyboard, you can, like, balance it out.

tipkate na ovoj tipkovnici, možete to uravnotežiti.

(Laughter)

(Smijeh)

If you hit G, life's okay, so I always say,

Ako udarite G, život je u redu, uvijek kažem.

"Hit G, and it's going to be all right.

Udarite G i sve će biti u redu.

Thank you. (Applause)

Hvala. (Pljesak)

Thank you.

Hvala.

So that was 20 years ago, and

To je bilo prije 20 godina,

I was always on the periphery of art.

i uvijek sam bio na periferiji umjetnosti.

By being President of RISD I've gone deep into art,

Kao predsjednik RISD-a krenuo sam duboko u

and art is a wonderful thing, fine art, pure art.

umjetnost. Umjetnost je divna stvar, dobra umjetnost, čista umjetnost.

You know, when people say, "I don't get art.

Kada ljudi kažu "Ne razumijem umjetnost.

I don't get it at all." That means art is working, you know?

Uopće ju ne razumijem." To znači da umjetnost funkcionira.

It's like, art is supposed to be enigmatic, so when you say,

Umjetnost treba biti enigmatska, pa kada

like, "I don't get it," like, oh, that's great. (Laughter)

kažete da ju ne razumijete, to je super. (Smijeh)

Art does that, because art is about asking questions,

Umjetnost to radi, jer umjetnost je postavljanje pitanja

questions that may not be answerable.

pitanja na koja možda nema odgovora.

At RISD, we have this amazing facility called

Na RISD-u, imamo odlično postrojenje

the Edna Lawrence Nature Lab. It has 80,000 samples

koje se zove Prirodni laboratorij Edne Lawrence. Ima 80 000 primjeraka

of animal, bone, mineral, plants.

životinja, kosti, minerala, biljaka.

You know, in Rhode Island, if an animal gets hit on the road,

Ako na Rhode Islandu životinja pogine na cesti,

they call us up and we pick it up and stuff it.

nazovu nas i mi ju prepariramo.

And why do we have this facility?

Zašto imamo ovo postrojenje?

Because at RISD, you have to look at the actual animal,

Jer na RISD-u morate vidjeti pravu životinju,

the object, to understand its volume, to perceive it.

objekt, da bi razumjeli njenu veličinu, doživjeli ju.

At RISD, you're not allowed to draw from an image.

Na RISD-u, nije vam dopušteno precrtavati sa slike.

And many people ask me, John, couldn't you just

Puno me ljudi pita, John, nisi li

digitize all this? Make it all digital? Wouldn't it be better?

ovo sve mogao digitalizirati? Ne bi li bilo bolje?

And I often say, well, there's something good to how things

Često kažem da postoji nešto dobro u tome kako su se stvari

used to be done. There's something very different about it,

prije radile. Postoji nešto vrlo drugačije u tome,

something we should figure out what is good about

nešto što bismo trebali shvatiti što je dobro u

how we did it, even in this new era.

načinu na koji smo to napravili, čak i u ovo doba.

And I have a good friend, he's a new media artist named

Imam dobrog prijatelja, koji je umjetnik novih medija,

Tota Hasegawa. He's based in London, no, actually it's in Tokyo,

Tota Hasegawa. U Londonu je, odnosno u Tokiju,

but when he was based in London, he had a game

no, kada je bio u Londonu, imao je igru

with his wife. He would go to antique shops,

sa svojom ženom. Išli bi u dućane antikvitetima

and the game was as such:

i igra je bila takva da

When we look at an antique we want,

kad vide starinu koju žele,

we'll ask the shopkeeper for the story behind the antique,

pitat će vlasnika da im kaže priču o toj starini,

and if it's a good story, we'll buy it.

ako je dobra priča, kupit će ju.

So they'd go to an antique shop, and they'd look at this cup,

Ušli su u dućan antikviteta i vidjeli šalicu,

and they'd say, "Tell us about this cup."

pitali vlasnika da im

And the shopkeeper would say, "It's old." (Laughter)

ispriča priču o njoj i vlasnik bi rekao "Stara je." (Smijeh)

"Tell us more." "Oh, it's really old." (Laughter)

"Recite nam više." "Oh, stvarno je stara." (Smijeh)

And he saw, over and over, the antique's value

I vidio je svaki puta isponova, da je vrijednost

was all about it being old.

starina upravo u starosti.

And as a new media artist, he reflected, and said,

Kao umjetnik novih medija, zamislio se i rekao,

you know, I've spent my whole career making new media art.

"Cijeli sam život radio umjetnost novih medija."

People say, "Wow, your art, what is it?" It's new media.

Ljudi pitaju "Kakva je tvoja umjetnost?" "Novi mediji."

And he realized, it isn't about old or new.

Shvatio je da nije stvar u novom ili starom.

It's about something in between.

Nešto je između.

It isn't about "old," the dirt, "new," the cloud. It's about what is good.

Nije u "starom", prašini, "novom", oblaku. Stvar je u tome što je dobro.

A combination of the cloud and the dirt is where the action is at.

Kombinacija prašine i oblaka je gdje je akcija.

You see it in all interesting art today, in all

Vidite to u svoj zanimljivoj umjetnosti

interesting businesses today. How we combine

danas, u svim zanimljivim poslovima danas.

those two together to make good is very interesting.

Jako je zanimljivo miješati to dvoje da bismo dobili nešto dobro.

So art makes questions, and

Dakle umjetnost postavlja pitanja,

leadership is something that is asking a lot of questions.

a rukovođenje postavlja mnogo pitanja.

We aren't functioning so easily anymore.

Više ne funkcioniramo toliko jednostavno.

We aren't a simple authoritarian regime anymore.

Više nismo jednostavan autoritarni režim.

As an example of authoritarianism, I was in Russia one time

Kao primjer autoritarizma, bio sam u Rusiji jednom, putovao sam u

traveling in St. Petersburg, at a national monument,

St. Petersburg. Kod nacionalnog spomenika

and I saw this sign that says, "Do Not Walk On The Grass,"

sam vidio znak na kojemu piše "Ne hodaj po travi."

and I thought, oh, I mean, I speak English,

Pomislio sam "Ja pričam engleski,

and you're trying to single me out. That's not fair.

i pokušavaju me izdvojiti. To nije fer."

But I found a sign for Russian-speaking people,

No, našao sam i znak za ljude koji pričaju ruski,

and it was the best sign ever to say no.

i to je bio najbolji znak ikad za reći "ne".

It was like, "No swimming, no hiking, no anything."

Pisalo je "Nema plivanja, nema pješačenja, nema ničega."

My favorite ones are "no plants." Why would you bring a plant to a national monument? I'm not sure.

Moj najdraži je bio "Nema biljaka." Zašto bi itko nosio biljku na spomenik?

And also "no love." (Laughter)

Nisam siguran. Također i "Nema ljubavi". (Smijeh)

So that is authoritarianism.

Dakle to je autoritatizam.

And what is that, structurally?

Što je on, strukturno?

It's a hierarchy. We all know that a hierarchy is how we run

Hijerarhija. Svi znamo da danas mnoge sustave

many systems today, but as we know, it's been disrupted.

vodimo hijerarhijski, no kako znamo, mnogi više ne funkcioniraju.

It is now a network instead of a perfect tree.

Sada je to više mreža nego savršeno stablo.

It's a heterarchy instead of a hierarchy. And that's kind of awkward.

Heterarhija umjesto hijerarhije. To je pomalo čudno.

And so today, leaders are faced

Danas su vođe suočene s problemom

with how to lead differently, I believe.

kako voditi drugačije.

This is work I did with my colleague Becky Bermont

Ovo je posao koji sam napravio s kolegicom,

on creative leadership. What can we learn

Becky Bermont, o kreativnom rukovodstvu.

from artists and designers for how to lead?

Što možemo naučiti od umjetnika i dizajnera kako

Because in many senses, a regular leader loves to avoid mistakes.

voditi? Jer u puno smisla, regularan vođa voli izbjegavati greške.

Someone who's creative actually loves to learn from mistakes.

Netko tko je kreativan voli učiti iz pogrešaka.

A traditional leader is always wanting to be right,

Tradicionalni vođa će uvijek htjeti biti u pravu,

whereas a creative leader hopes to be right.

dok će se kreativni vođa nadati da je u pravu.

And this frame is important today, in this complex,

Ovaj okvir je važan danas, u ovom kompleksnom,

ambiguous space, and artists and designers have a lot to teach us, I believe.

dvosmislenom prostoru. Umjetnici i dizajneri nas mogu puno naučiti.

And I had a show in London recently where my friends

Nedavno sam imao predstavu u Londonu, gdje su me prijatelji

invited me to come to London for four days

pozvali da dođem u London na 4 dana

to sit in a sandbox, and I said great.

sjediti u kutiji s pijeskom.

And so I sat in a sandbox for four days straight,

Pa sam i sjedio u kutiji s pijeskom 4 dana za redom,

six hours every day, six-minute appointments with anyone in London,

6 sati svaki dan, šestominutni razgovori s bilo kime u Londonu,

and that was really bad.

i to je bilo vrlo loše.

But I would listen to people, hear their issues,

Slušao sam ljude i njihove probleme,

draw in the sand, try to figure things out,

crtao u pijesku, pokušao razumijeti

and it was kind of hard to figure out what I was doing.

svijet, i bilo je malo teže shvatiti što sam radio.

You know? It's all these one-on-one meetings for like four days.

Svi ti jedan na jedan sastanci u 4 dana.

And it felt kind of like being president, actually.

Pomalo je osjećaj kao da sam predsjednik

I was like, "Oh, this my job. President. I do a lot of meetings, you know?"

"Oh, moj posao. Predsjednik. Imam puno sastanaka, znate?"

And by the end of the experience,

Na kraju eksperimenta,

I realized why I was doing this.

shvatio sam zašto sam to radio.

It's because leaders, what we do is we connect

Jer vođe povezuju malo vjerojatne veze

improbable connections and hope something will happen,

i nadaju se da će se dogoditi nešto.

and in that room I found so many connections

U toj sobi sam našao toliko veza

between people across all of London, and so leadership,

između ljudi iz cijelog Londona. Rukovođenje i povezivanje ljudi

connecting people, is the great question today.

je veliko pitanje današnjice.

Whether you're in the hierarchy or the heterarchy,

Jeste li u hijerarhiji ili heterarhiji

it's a wonderful design challenge.

je divan dizajnerski izazov.

And one thing I've been doing is doing some research

Radio sam istraživanje na sustavima

on systems that can combine technology and leadership

koji povezuju tehnologiju i rukovodstvo

with an art and design perspective.

s perspektivom

Let me show you something I haven't shown anywhere, actually.

dizajna i umjetnosti. Pokazat ću vam nešto što još nigdje nisam.

So what this is, is a kind of a sketch, an application sketch

Ovo je prikaz na aplikaciji koji sam

I wrote in Python. You know how there's Photoshop?

napisao u Pythonu. Znate kako postoji Photoshop?

This is called Powershop, and the way it works is

Ovo je nazvano Powershop i način na koji radi je takav da zamislite organizaciju.

imagine an organization. You know, the CEO isn't ever

Izvršni direktor nije nikad na vrhu,

at the top. The CEO's at the center of the organization.

već uvijek u sredini organizacije.

There may be different subdivisions in the organization,

Mogu postojati razne podkategorije u

and you might want to look into different areas. For instance,

organizaciji i možete pogledati drugačija područja.

green are areas doing well, red are areas doing poorly.

Na primjer, zelena područja rade dobro, crvena područja rade slabije.

You know, how do you, as the leader, scan, connect,

Kako vi, kao vođa, promatrate, povezujete,

make things happen? So for instance, you might open up

stvarate stvari? Na primjer, možete otvoriti

a distribution here and find the different subdivisions in there,

distribuciju ovdje i naći drugačije podkategorije,

and know that you know someone in Eco, over here,

i znate nekoga iz Eco odjela, ovdje,

and

i

these people here are in Eco, the people you might

ovi ljudi ovdje su iz Eco odjela, ljudi

engage with as CEO, people going across the hierarchy.

kojima kao CEO možete pristupiti, ljudi koji idu kroz hijerarhiju.

And part of the challenge of the CEO is to find

Dio izazova CEO-a je pronaći

connections across areas, and so you might look in R&D,

veze kroz područja. Možete pogledati u R&D

and here you see one person who crosses the two areas

i ovdje vidite jednu osobu koja pripada dvama područjima

of interest, and it's a person important to engage.

interesa, te je važna za odnose među njima.

So you might want to, for instance, get a heads-up display

Mogli biste dobiti uvid

on how you're interacting with them.

kako komunicirate s njima.

How many coffees do you have?

Kolko kava imate?

How often are you calling them, emailing them?

Koliko ih često zovete, šaljete im e-mail?

What is the tenor of their email? How is it working out?

Kakav je ton njihovih mailova? Kako to funkcionira?

Leaders might be able to use these systems to

Vođe mogu koristiti ove sustave

better regulate how they work inside the heterarchy.

kako bi olakšali rad unutar heterarhije.

You can also imagine using technology like from Luminoso,

Zamislite korištenje Luminosa tehnologije,

the guys from Cambridge who were looking at deep

ljudi iz Cambridgea koji su duboko

text analysis. What is the tenor of your communications?

analizirali tekst. Kakav je ton vaše komunikacije?

So these kind of systems, I believe, are important.

Ova vrsta sistema je važna.

They're targeted social media systems around leaders.

To su ciljane društvene mreže oko vođa.

And I believe that this kind of perspective will only begin

Vjerujem i da će ovakva perspektiva tek postati važna

to grow as more leaders enter the space of art and design,

kako sve više vođa uđe u prostor dizajna i umjetnosti,

because art and design lets you think like this,

jer umjetnost i dizajn vam omogućuju da ovako razmišljate,

find different systems like this,

nađete drugačije sustave poput ovog,

and I've just begun thinking like this,

a ja sam tek počeo ovako razmišljati,

so I'm glad to share that with you.

i drago mi je to podijeliti s vama.

So in closing, I want to thank all of you

Na kraju, htio bih svima zahvaliti

for your attention. Thanks very much. (Applause)

za vašu pozornost. Hvala lijepa. (Pljesak)

(Applause)

(Pljesak)