Describing a Place I Know - 887 Words

Since I am suppose to write about a place I know, I have decided to write about my aunt Hollys farm. I will explain why I go there, what I like to do there, and why I feel most connected to her farm. I will describe different areas on her twenty-two acre farm as well as her house. I will also explain the importance of the farm, well why it is important to me. Aunt Hollys farm is the place that we almost always go to for holidays. Or just as a place we go to to get away and spend time with family. For me its like another home. Growing up aunt Holly and her husband uncle Tim were like second parents. My aunt Holly is my moms older sister. So I spent quit a bit of my summers there along with weekends. Sometimes I even lived with them, sometimes with my mom and brothers other times when my mom could not handle me. Her farm is special to me because growing up it was a safe place. It was the place I could go to too discover new things. Many times my cousin Amanda and I would go down to the creek and play with the tadpoles. We got in trouble for bringing them in the house, my aunt didnt want anything from the creek in the house. My uncle said that we were just being kids. One time he bet me and Amanda five dollars each that we wouldnt kiss a frog. So we went down to the creek and caught two frogs. When we got back up to the house my aunt was out side holding a camera. Amanda was to scared to go first so I did. It was not that bad, she made a bigger deal out of it then whatShow MoreRelated The Masque (Mask) of the Red D, William Wilson, Tale of the Ragged Mountains, and House of Ush1583 Words   |  7 Pagesto play an important part in the story - we are given the setting right in the title.   However, a majority of the story actually takes place in an Orientalized locale that has been transposed into the Ragged Mountains.   This alone is a great juxtaposition: the title describes what seems to be a run-down, unappealing landscape, while the real action takes place in fantastical setting.   But why is the landscape so important if the psychological aspect is what Poe is trying to focus on?   Most likelyRead MoreChristopher Columbus the Liar1417 Words   |  6 PagesThe letter Christopher Columbus wrote back to Spain to report his findings in the New World sparked intrigued me and sparked my imagination. Why I have been so absorbed in this letter I can not explain. This letter is supposed to be about describing an unknown land, a land that has not been seen by anyone besides the natives, but it seems that there is more to it than that. Columbus is known in elementary schools as the man who found the New World, and is regarded as a hero. To the contrary, historiansRead MoreWhat Is The World Cup And The Process Of Selecting Teams For A Team?729 Words   |  3 PagesThe text that I read was an article about the World Cup and the process of selecting teams for each group. It explains how there are three hats filled with the names of three nations and each nation will be drawn from those hats at random and placed in eight groups. The first hat consists of the best teams and Russia, since they are the host nation. The article’s focus was primarily on France’s soccer team and their potential group for the World Cup. The article also talked briefly about the ceremonyRead More Christo pher Columbus: The Villain Essay1399 Words   |  6 Pages The letter Christopher Columbus wrote back to Spain to report his findings in the New World sparked intrigued me and sparked my imagination. Why I have been so absorbed in this letter I can not explain. This letter is supposed to be about describing an unknown land, a land that has not been seen by anyone besides the natives, but it seems that there is more to it than that. Columbus is known in elementary schools as the man who found the New World, and is regarded as a hero. To the contrary, historiansRead MoreAnalysis Of The Poem The Love Song Of J. Alfred Prufrock1529 Words   |  7 Pagessurroundings. From his descriptions, we can know that he is not satisfied with his life because he thinks life made him dull and bored. In addition, it seems that nothing in the world brings pleasure to the narrator. Nothing brings him positive emotions. It is worth to consider that the setting plays an important role in the poem and contributes to its main theme. As we can see, the action of the poem takes place in the evening, and in the dirty place of the city that is full of smoke as the narratorRead MoreImportance Of Geography Essay773 Words   |  4 PagesKerrigan Moore Why is Geography Important? Mrs. Bezy Geography Honors Period 8 8/14/17 Why is Geography Important? In geography there are five main themes that we learn about: location, place, region, movement, and human and environment interaction. There are various reasons why we study geography. Geography is what we use to locate things around the world. It can tell us where a state is, to where an exact street is. Geography is a very useful resource. The first mainRead MoreCompare Essay Aquainted with the Night and A Road Not Taken1543 Words   |  7 PagesENG-102 27 February 2012 The poems that I have decided to write about are, â€Å"Acquaint With The Night†, and â€Å"A Road Not Taken†, by Robert Frost. Frost was exposed to literature from an early age both of his parents were teachers. He started writing at the age of fifteen; he admired writers such as William Shakespeare, Robert Buras, and William Wordsworth. (Spencer and Chris) I believe that Frost wrote â€Å"Acquaint With The Night† because it was during a time of depression just after the stock marketRead MoreName And Describe The Two Main Elements Of Point Of View Of A Descriptive Essay1463 Words   |  6 PagesDescriptive essay are; physical relation and psychological relation. A real of imagined physical relation to the subject: a writer could be describing the St. Louis arch by talking about how tall it is, when it was built, the color of it and how man windows are up top. A psychological relation to the subject, a relation partly conveyed by pronouns. The writer will use I and you freely to narrow the distance between themselves and the subject and between themselv es and the reader. 8. What are the fiveRead MoreLove and Hate in Jamestown838 Words   |  4 Pagesdemystify the historical legends of John Smith and Pocahontas, and portray both as the reason why the Jamestown colony survived in the New World. Price supports this thesis by describing the people that inhabited the New World with the settlers at Jamestown, describing the leadership skills Smith possessed, and describing his method for saving the colony from disaster. Price wants to portray Smith and Pocahontas in the correct light, and correct the common misconception that the two were romanticallyRead MoreNarrative Of The Life Of Frederick Douglass1393 Words   |  6 PagesBy writing this narrative Douglass is able to tell the truth about slavery on what the slaves have experienced and reveal that the truths people believed about slavery are actually lies. Douglass not only uses ethos to build up his credibility by describing his own personal experiences and events that have actually occurred, but he also pathos by making the reader feel certain emotions after reading about his experiences. In addition, his arguments against the justifications people had about slavery

Management Developing Countries And The Position Of...

Management in Developing Countries and The position of Bangladesh Introduction: According to Peter Drucker â€Å"Management is what the modern world is all about† that statement means that all the development that has taken place in the world is due efficient management. Management is concerned with acquiring maximum prosperity with minimum efforts. Management is essential wherever group efforts are required to be directed towards achievements of common goals. Efficient management can foster the economic growth and development of a country. It also can bring the surface of human abilities and in the final analysis determine the success or failure of any country. It helps the management of the organization to focus on the need to any kind of change that might occur within an organization allowing to apply the useful methods or techniques of selecting a rightful person for the right places. Scope of the Study: Objective of the Study: Conceptual Framework: Definition of Management: Management is the art, or science, of achieving goals through people. Since managers also supervise, management can be interpreted to mean literally â€Å"looking over† – i.e., making sure people do what they are supposed to do. Managers are, therefore, expected to ensure greater productivity or, using the current jargon, ‘continuous improvement’. More broadly, management is the process of designing and maintaining an environment in which individuals, working together in groups, efficiently accomplishShow MoreRelatedMicrofinance: Improving the Standard of Living in Developing Countries1094 Words   |  5 Pagesservices that include things such as microcredit, one of the first incarnations of microfinance.   As previously mentioned, the implementation of microfinance is a formal sense was in the 1970s. In 1974, a lecturer at the University of Chittagong in Bangladesh called Muhammad Yunus lent $27 to poor villagers as a form of credit. The villagers were able to utilize that money and pay back Yunus. The prime recipients of the loans were women as they were more fiscally conservative. As such, that adheres toRead MoreThe Foxhole Court, By Writer Nora Sakavic Essay1193 Words   |  5 Pageshealthy, solvent and transparent economic life a perfect career should be selected. By analyzing political economic factors behind such as values in present market demand, how domestic and international interact with the matter, consistency with developing economy, financial advancement, market orientation one can choose one’s future. Without scrutinizing these sections decisions may take for personal gain or achievement. This is the why I like to choose The subject â€Å"Public Administrationà ¢â‚¬  at renownedRead MorePerformance Dynamics of Beximco Pharmaceuticals Ltd1421 Words   |  6 Pagesleading edge pharmaceutical company and is a member of the Beximco Group,the largest private sector industrial conglomerate in Bangladesh. The firm started operation in 1980,manufacturing products under the licenses of Bayer AG of Germany and Upjohn Inc. of USA andnow have grown to become nation s one of the leading pharmaceutical companies, supplying morethan 10% of country s total medicine need. Today Beximco Pharma manufactures and markets its own`branded generics for almost all diseases fromRead MoreMonetary Policy of Bangladesh1674 Words   |  7 PagesMonetary Police Monetary policy is the term used by economists to describe ways of managing the supply of money in an economy. Monetary Policy is the management of money supply and interest rates by central bank to influence prices and employment for  achieving the objectives of general economic policy. Monetary policy works through expansion or contraction of investment and consumption expenditure. According to Paul Einzig â€Å"Monetary policy includes all monetary decisions and measures irrespectiveRead MoreCellbazaar, Burgeoning Mobile Marketplace of Bangladesh1524 Words   |  7 PagesCellBazaar, Burgeoning Mobile Marketplace of Bangladesh Abstract CellBazaar, MIT Media Lab project, is the biggest mobile based online marketplace in Bangladesh. It is nothing but a platform that contains the information of its customers who are willing to sell their products or services and buyers or people at large go through that information posted by the sellers to search out the product serve their interest best. Cellbazaar is in service industry as well as in IT industry.Read MoreThe Role of Women in Developing a Country1561 Words   |  7 PagesSign in using your Facebook account Sign in with Facebook Shvoong HomeArts HumanitiesThe role of Women in a developing country Summary The role of Women in a developing country Article Summary by:khatiar1955 Original Author: Kh. Atiar Rahman * Summary rating: 5 stars (6 Ratings) * Visits : 150 * words:600 * More About : the role of women in developing a country /sort-popular/humanities/  ª Copy Highlights to Clipboard Summarize It Ads by Google Medical Missions In IndiaRead MoreSeminar Paper on Prismatic –Sala Model vs. Bureaucratic Model3996 Words   |  16 Pages01612167683Email: mahmudul016@gmail.comShahjalal University of Science amp; TechnologySylhet – 3114. | Introduction Riggs made a great effort in searching for an objective and effective model for analyzing public administration in developing regions. With his background in sociological theory, Riggs created the â€Å"fused-prismatic-diffracted model.† This model covers a wide range of research. For instance, economic life, social structures, political symbols, and the allocation Read MorePublic Administration Vs. Government1461 Words   |  6 PagesTrust in government is one of the major concerns in modern social sciences research. It is addressed in the literatures of political science, public administration, law, philosophy, counseling and psychology, economics, organization theory, management, and others. The literature often documents a positive correlation between citizens’ trust in government and the government’s performance (Feldman, 1983). What is less clear is the nature of any causal relationship (Bjà ¸rnskov, 2007). Some assert theRead MoreG rowing Economy, Scope for Fresh and New Projects, Need for Infrastructural Facilities.2748 Words   |  11 PagesChallenges Project Management in Bangladesh : Positive Factors: 1. Growing economy, scope for fresh and new projects, need for infrastructural facilities. 2. Availability of resources. 3. Abundance of manpower. 4. Urge for development. 5. Adaptability of manpower vis-à  -vis technologies. Negative Factors: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22 23. 24. 25. 26. 27. 28. 29. Poor very inadequate technical bases. Inadequacy of research trained manpower. SeriousRead MoreCulture Issues in Developed Countries1538 Words   |  6 Pagesand as various developing countries increase the amount of business they do with developed countries, many cultural issues arise. Running a business is different in different countries. Even as globalization makes us citizens of a global village, we cannot lose the perspective that there are different beliefs and normative behaviors in different cultures some acceptable in country A, but not in country B; some even expected. Often, when looking at ethical dilemmas in other countries, we must ask:

Australian Immigration Law Defacto Partnership

Question: Discuss about the Australian Immigration Law for Defacto Partnership. Answer: (a) What Is The Definition Of A Defacto Partnership? Does Emma Qualify As Jasons Defacto Partner? What Other Option Would You Recommend To Jason In The Circumstances? A defacto partnership is a association between two individuals who are of same and opposite sex, not married legally, not connected by family, have been living together as a couple on a legitimate domestic basis[1].The criteria prescribed in Migration Regulations 1994 are applicable to de facto status[2]. The criteria include the duration of the relationship, presence of the sexual relationships, reliance along with interdependence of the partners in financial aspects, extent of mutual commitment in the relationship, nature of common residence, and reputation of the relationship[3]. Apart from these, the partners must be minimum 18 years of age at the time of application and the partnership should be of at least 12 months before making the application[4]. According to the case scenario, it can be stated that Emma does not presently meet the entire requirements to be a defacto partner of Jason owing to the fact that they were living together in an apartment for only six months. Hence, Jason should go for Prospective Marriage Visa (subclass 300) for Emma. The nature of the visa is temporary and is valid for 9 months after granting of visa. With this visa, Emma can enter into Australia and can marry Jason within the validity period. After that, Emma can apply for prospective visa with the required documentations. The requirements of the prospective visa are, the partner has to be sponsored, should be 18 years or above while making application, should be of opposite sex to the intended partner, should possess genuine intention to marry, should meet character and health obligations[5]. After granting of prospective marriage visa Emma can than lodge an application for the partner visa. With Prospective visa, Emma can marry Jason, in Australia or in any other country but she has to enter in Australia on Prospective marriage visa at least once before the marriage takes place. Jason should fulfil all the criteria related to prospective visa with all the required documen ts needed to make an application for the visa. Jason should abide by the stated regulations and make proper arrangements of valid documentation before seeking to sponsor partner visa of Emma. (b) What Visas Are Available For Emma To Sponsor Her Parents To Come To Australia? Of The Visas That Are Available, Which Would You Recommend As Being The Best Option? There are diverse kinds of visas accessible for sponsoring Emmas parents to Australia stated in the Migration Regulations 1994[6]. The most suitable option for Emma to bring her parents in Australia is the Contributory Parent (Temporary) Visa (subclass 173)[7]. This category of visa lets the parents to stay in Australia for 2 years regardless of whether they are the parents of a person who is a citizen of Australia. The visa is of temporary nature and should be sponsored by the child of the applicant. The visa will let individuals to live in Australia for two years and they can travel to any place in Australia within that period. With the approval of the visa, Emmas parents will be able to live temporarily as an Australian resident in due course of time with her. The parents of Emma will be eligible for various types of government services available and can get the benefits according to the Australian governments policy. In order to apply for the stated visa, all the required documen ts or evidences are needed to be provided to the visa office. The proofs should contain amid other documents the relationship of the applicants with the sponsor in Australia. (c) Under The Circumstances, Is There Any Family Visa That Would Enable Michelle To Come And Live In Australia With The Rest Of The Family Permanently? In keeping with the provided scenario, it is apparent that due to recent terrorists attacks which left her injured and killed her husband along with her brother, Emmas sister is feeling unsafe in France and wants to shift to Australia permanently. The situation in the home country where Michelle lives is not suitable. Hence, she can apply for the visa under the class of Remaining Relative visa (subclass 115) which allows the person to stay in Australia whose sole relatives are living in the country[8]. The visa will allow Emmas sister to come and reside in Australia. This visa is applicable for those whos sole near relatives are residents in Australia as stable Australian citizens. One can apply for the visa only when the relatives sponsor the person. With this visa, Emmas sister will be allowed to stay in Australia. All the necessary documents including the passport will be needed to apply for this visa application. The visa will enable Emmas sister to be eligible for getting the se rvices in government sector of Australia and can access the other necessary benefits as stated in the particular visa policy. For this category of permanent visa, Emma also needs to ensure that the applicant i.e. her sister is outside Australia when the visa is acknowledged. This visa which would allow Michelle to stay within Australia for an indefinite period can be of immense value to her to get her out of present state of fear and anxiety in her home country. Moreover, she can also apply for citizenship of Australia later on. For a period of five years from the date of granting the visa, she can travel outside the country or to the nation as a permanent resident. Subsequently, in case five years period passes by, she can again apply for yet another new visa, if she desires to come back to Australia. In order to complete the procedures in a highly proficient manner, Emma should refer to some of the cases which were not positive in terms of applying the visa. Thorough investigation should be made by both Jason and Emma before going for the entire procedure of applying the visa. They should take into considerations all the terms and criteria before placing their application. Bibilography Articles Australian Government Department of Immigration And Border Protection, De facto partners (not married but in a de facto relationship) (2015) Partner Migration 38 Other Australian Government Department of Immigration And Border Protection Fact sheet - One-year relationship requirement for De Facto partners, https://www.border.gov.au/about/corporate/information/fact-sheets/35relationship Migration Regulations 1994 - Reg 1.09a Migration Legislation Amendment (2016 Measures No. 1) Regulation 2016 Partner Migration 38 Partner Migration (Australian Government Department of Immigration and Border Protection, 2015). Migration Regulations 1994 Contributory Parent (Temporary) visa (subclass 173) Remaining Relative visa (subclass 115)

Why Im Becoming a Drum Major Essay Example For Students

Why Im Becoming a Drum Major Essay The reason why I want to be drum major is that I want to change the band for the better and improve how the band acts, marches, and to show how the band can feel like one tight family like it has before. I feel that I have the experience to become drum major because of JROTC. They have taught us how to become leader in the organization and how to treat others. Their goal was to make young people to become better citizens in society. My mind if I become drum major is to make everyone better than who they were yesterday. We will write a custom essay on Why Im Becoming a Drum Major specifically for you for only $16.38 $13.9/page Order now As long as you know how to fix your mistake, then the past is useless and the future is what you decide. In JROTC, they showed how we can help society change for the better socially and mentally. Like marching for example. In JROTC, they showed us true basics on how to march step by step and then later on in the year, they let us march right away because we know mentally we can march. That is the same idea I would use if I became drum major. I would make sure they know the basics, then later on when they have the basics down, we can move on to different types of marching. JROTC helped me out a lot in vocal commands. In JROTC, they break our shyness shells and teach us how to use our command voice. Without clean communication, the members of the band will not get the command and we will waste time going back and doing it all over again. Last JROTC taught how to deal with students. They taught us to encourage them while they are well behaved, make sure they are focused to the task at hand, and they make sure they are accountable to both them and to their peers. Without JROTC teaching me all of these things, I might not have the confidence to write this paper and even audition for drum major. Another reason why I feel like I should be drum major is because I want to change the band for the better and to make one family again. As the years go by, the students feel like they can do what they want to do. I can help by maintaining the mind set to keep focused on the task at hand and also joke around as well at the right time. I can make sure the section leaders are doing their job by keeping their section accountable of each other. I can make sure everyone is trying the absolute best on their marching. I can make sure when the band is off task I can always make the band regroup and focus on the task. I can make the entire band make sure that they know their music and spots. Lastly I can make the band feel like they are always comfort with everyone and make we all act as a family. With the skills I have, I feel like I can be drum major. I have pride, dedication, motivation, respect, and being honorable to all band members. I feel that I should be drum major because I know I have what it takes to become a leader and truly become drum major.

Qu es el advance parole o permiso de viaje

Qu es el advance parole o permiso de viaje El advance parole es un permiso de viaje es un requerimiento indispensable para que algunos extranjeros que se encuentran en los Estados Unidos puedan viajar fuera del paà ­s y regresar. Este artà ­culo informa sobre quià ©n,  deben solicitarlo, cundo, cà ³mo, costos, consecuencias de viajar sin solicitar este permiso y quà © formas puede tener una vez que es aprobado. Quià ©nes deben solicitar el permiso conocido como advance parole Son varias las categorà ­as de extranjeros que deben solicitar el advance parole para viajar al extranjero y regresar. Pero el punto comà ºn que tienen todos ellos es que son personas que estn en la actualidad en los Estados Unidos y que si viajan al extranjero sin el permiso de viaje  no podrà ­an regresar porque carecen del debido documento migratorio, como serà ­a una visa vlida o la tarjeta de residencia permanente.   A continuacià ³n, las situaciones en las que es necesario solicitar un advance parole o permiso de viaje: 1. Ajuste de estatus   La ms comà ºn es la de las personas que han solicitado un  ajuste de estatus  en el  proceso para adquirir la tarjeta de residencia (green card). Por ejemplo, algunos esposos de ciudadanos americanos y que cumplen con una serie de requisitos. Mientras se demora el proceso de ajuste de estaus, estas personas pueden viajar al extranjero siempre si tienen un advance parole. Sin embargo, no todas las personas en proceso de ajuste deben solicitarlo. Y es que existen las siguientes excepciones: las personas que ingresaron al paà ­s con visas K-3 (esposos de ciudadanos)K-4 (hijos de ciudadanos)H-1B (profesionales)   L-1 (transfer entre empresas) y que cuentan con una visa vlida. Es muy importante el requisito de la validez del visado, ya que si no lo es, se deber pedir el advance parole mientras se est en el proceso del ajuste de estatus. Asimismo, los que solicitan el ajuste porque ya tienen un estatus de refugiado o de asilado aprobado  y està ©n en proceso de ajuste de estatus para obtener la green card deben solicitar el documento para viajar al extranjero y poder regresar (ver ms abajo cul aplica a este caso) y no el advance parole. 2. Solicitante de asilo Las personas que tienen una peticià ³n de asilo pendiente tambià ©n deben solicitar el advance parole antes de viajar fuera de los Estados Unidos. Pero no las que ya lo tienen aprobado, a quienes corresponde un documento para viajar (ver ms abajo). 3. Visa T o visa U aprobada La visa T se concede a personas que han sido và ­ctimas de trata de personas Por su parte, las visas U se otorgan a và ­ctimas de determinados delitos que han colaborado con las autoridades para resolver un crimen o lograr la condena del delincuente.   Sin embargo, cabe destacar que mientras se procesa la visa U o la T y est pendiente su aprobacià ³n, es aconsejable no viajar fuera de los Estados Unidos.   4. Accià ³n diferida aprobada Los muchachos y muchachas entre 15 y 30 aà ±os que hayan solicitado la accià ³n diferida, tambià ©n conocida como DACA, por sus siglas en inglà ©s,  y que ya la tengan aprobada pueden solicitar un advance parole para viajar al extranjero. 5. TPS Es una situacià ³n excepcional de proteccià ³n temporal que permite a los ciudadanos de determinados paà ­ses y que reà ºnen todos los requisitos seà ±alados por la ley permanecer en Estados Unidos y trabajar legalmente. En la actualidad aplica a ciudadanos de: El Salvador, Guinea, Haità ­, Honduras, Liberia, Nepal, Nicaragua, Sierra Leona, Somalia, Sudn, Sudn del Sur, Siria y Yemen. Quià ©nes no pueden pedir un advance parole Aunque una persona se encuentre dentro de las categorà ­as nombradas, es decir, ajuste de estatus, TPS, asilo pendiente, visa T o Visa U aprobados, no se puede solicitar el advance parole si se est en un proceso pendiente de deportacià ³n o expulsià ³n. Destacar que la excepcià ³n son los muchachos con DACA aprobado. Adems, consultar con un abogado en todos los casos si es que se tienen una cita para comparecer en una corte migratoria o se tienen cualquier asunto criminal pendiente o una condena por un tema de delitos o faltas. Por otro lado, no pueden solicitar este permiso para viajar los migrantes indocumentados excepto, como ya se ha dicho, los muchachos con DACA aprobado, quienes en la actualidad se encuentran en una situacià ³n que podrà ­a calificarse de semi-legalidad.  ¿Cà ³mo se solicita el advance parole? Llenando el formulario I-131. Marcar la casilla correcta, ya que este documento tambià ©n se solicita para los casos en los que se pide un permiso de reentrada o un documento de viaje (ver ms abajo). Por lo tanto hay que checar dos veces para verificar que se marca lo correcto.   Si se est en un proceso de ajuste de estatus lo ms frecuente es que se envà ­e al mismo tiempo junto con el documento en que se solicita el ajuste y un permiso de trabajo.  ¿Cundo debe solicitarse el advance parole? Antes de salir de Estados Unidos. Adems, tener en cuenta que en la mayorà ­a de los casos es necesario que le tomen al solicitante las huellas digitales (dactilares), para lo cual recibir una cita. Si se viaja fuera antes de este trmite se considera que se ha abandonado la peticià ³n de advance parole, que queda sin efecto. Costos El costo de aplicar depende de la situacià ³n de cada uno y la razà ³n por la que aplica y hasta puede ser gratis.   Si se solicita el permiso de viaje junto con el ajuste de estatus y el permiso de trabajo ya no es necesario pagar una cuota adicional.   En los otros casos, la cuota es de $360, pero verificar siempre en el documento del USCIS en el que explica cà ³mo llenar el formulario, ya que esa cantidad puede cambiar.  Tambià ©n se puede verificar el costo llamando gratuitamente al USCIS a su servicio de atencià ³n al cliente marcando al 1-800-575-5283. Adems, en algunos casos es posible solicitar una exencià ³n del pago y asà ­ saldrà ­a gratis.  ¿Cunto se demora el advance parole? Suele tardar unos dos o tres meses en procesarse. Es posible solicitar una tramitacià ³n acelerada marcando al Centro Nacional de Atencià ³n al Cliente al 1-800-375-5283 o incluyendo una carta en la aplicacià ³n en la que se adjunta documentacià ³n que sirve para apoyar la peticià ³n. En casos realmente urgentes es posible que el solicitante se presente en una oficina del USCIS. Se puede buscar la ms cercana en esta aplicacià ³n. Bajar el cursor a mitad de pgina y ahà ­ clicar en el mapa de Estados Unidos encima del estado en el que se reside.   En este caso, se debe llevar la aplicacià ³n del I-131, un cheque para el pago de la tarifa, dos fotos tipo pasaporte y documentacià ³n de apoyo para demostrar la urgencia. Por ejemplo, un certificado de defuncià ³n o un informe mà ©dico.  ¿Cà ³mo luce e documento en el que se aprueba el advance parole? Una vez que el USCIS aprueba este permiso, puede lucir de dos formas: El documento que se conoce como I-512Una tarjeta de permiso de trabajo que sirve a su vez como advance parole y asà ­ lo dice el propio documento en la frase serve as I-512 Advance parole.  ¿El permiso de viaje o advance parole garantiza el ingreso a Estados Unidos? La respuesta a esa pregunta es negativa. Y es que siempre hay que tener presente que la à ºltima palabra la tiene el oficial migratorio de la CBP.   Adems, tener en cuenta que las personas que ingresan, que son la mayorà ­a, son consideradas desde el punto de vista migratorio como parolee y, por el contrario, no es un admitted. Esta es una distincià ³n tà ©cnica y jurà ­dica que conviene tener en cuenta.  ¿Cules son las consecuencias de no solicitar el advance parole? Se puede salir de Estados Unidos, pero el problema aparece en el momento en que se quiere regresar. El oficial migratorio puede impedirlo y en ese caso se tendr que esperar fuera de Estados Unidos a que finalice el proceso. Adems, en algunos casos en los que la persona ha estado en Estados Unidos ilegalmente por ms de 180 dà ­as puede saltar el problema aà ±adido del castigo de los tres y de los cinco aà ±os.   Finalmente, otra consecuencia es que se considere que se ha abandonado el trmite migratorio pendiente, con lo cual habrà ­a que iniciarlo de nuevo. Casos distintos al del advance parole, pero similares y que a veces se confunden Hay otros permisos para regresar a los Estados Unidos que no pueden confundirse con el advance parole. Se piden utilizando el mismo formulario pero se marca una casilla diferente. Las personas que tienen el estatus de refugiado o de asilado deben solicitar un documento que se conoce como documento para viajar para refugiados (refugee travel document, en inglà ©s), para estar capacitados para viajar fuera de los Estados Unidos. Los asilados no deben confundir dos situaciones: cuando la peticià ³n de asilo est pendiente, que es un advance parole lo que deben solicitar, y cuando el asilo ha sido aprobado, que se debe solicitar un refugee travel document.   A veces existen confusiones porque se pide utilizando el mismo formulario, el I-131, pero son distintos los documentos que se obtienen. Fijarse bien en el cuadradito que se marca cuando se pide el beneficio. Tambià ©n deben solicitar este documento para viajar los familiares de los refugiados y de los asilados que obtienen este estatus de forma derivada. Por otro lado, con el mismo formulario I-131 puede solicitarse un permiso de reentrada, que es diferente al permiso de viaje o advance parole. El de reentrada es un permiso por el que deben aplicar los residentes permanentes legales o los residentes condicionales que van a pasar ms de un aà ±o. Y es que los residentes tienen la obligacià ³n de residir en los Estados Unidos y tienen que respetar ciertas reglas de tiempos en sus estadà ­as en otros paà ­ses. Por el contrario,un caso completamente distinto es el de los residentes permanentes que sà ³lo tienen la green card estampada en el pasaporte porque todavà ­a no han recibido la de plstico. Estas personas pueden viajar sin necesidad de pedir permiso previo. Parole que pueden pedir las personas que se encuentran en el extranjero para ingresar a USA Un caso completamente distinto es el del parole que piden extranjeros fuera de Estados Unidos para ingresar al paà ­s. Aquà ­ se hace una mencià ³n porque a veces se confunden con el permiso para viajar. Pero son cosas diferentes que aplican a casos distintos. Los casos de parole que se solicitan desde el extranjero son: Por razones humanitarias extraordinarias como razones mà ©dicas o legales, como por ejemplo, testificar en un juicio.Programa de menores centroamericanosPrograma de reunificacià ³n familiar para cubanos y haitianos Conclusià ³n Los extranjeros presentes en Estados Unidos con un proceso migratorio pendiente deben asegurarse antes de viajar a otro paà ­s si para ellos existe el requerimiento de solicitar un advance parole antes de salir. Y eso aplica asà ­ sea para cruzar a Canad o a Mà ©xico a una localidad justo pegada a la frontera con Estados Unidos y por sà ³lo unas horas. Este artà ­culo es meramente informativo. No es asesorà ­a legal.

How to Kill Creativity Essay Example

How to Kill Creativity Essay Example How to Kill Creativity Essay How to Kill Creativity Essay How_to_Kill_Creativity_www. hbrreprints. org How to Kill Creativity by Teresa M. Amabile Included with this full-text Harvard Business Review article: 1 Article Summary The Idea in Brief- the core idea The Idea in Practice- putting the idea to work 2 How to Kill Creativity 12 Further Reading A list of related materials, with annotations to guide further exploration of the article’s ideas and applications Product 98501 How to Kill Creativity The Idea in Brief If the mantra for the current business climate is Innovate or die, why do so many companies seem to be choosing the latter option? Creativity gets killed much more often than it gets supported. The problem is not that managers smother creativity intentionally- the business need for coordination and control can inadvertently undermine employees’ ability to put existing ideas together in new and useful ways. To foster an innovative workplace, you need to pay attention to employees’ expertise, creative-thinking skills, and motivation. Of these three, employees’ motivation- specifically, their intrinsic motivation, or passion for a certain kind of challenge- is the most potent lever a manager can use to boost creativity and his company’s future success. The Idea in Practice In business, it isn’t enough for an idea to be original- the idea must also be useful, appropriate, and actionable. It must somehow influence the way business gets done- for example, by significantly improving a product or service. Within every individual, creativity exists as a function of three components: 1. expertise (technical, procedural, and intellectual knowledge). The broader the expertise, the larger the intellectual space a person has to explore and solve problems. 2. creative-thinking skills. These aptitudes, shaped by an individual’s personality, determine how flexibly and imaginatively someone approaches problems. 3. motivation. Expertise and creativethinking skills provide an individual’s natural resources for creativity; motivation determines what a person will actually do. Extrinsic motivation comes from outside the individual- whether it’s the offer of a bonus or the threat of firing. Extrinsic motivation doesn’t prevent people from being creative, but in many situations it doesn’t boost their creativity either. On its own, it can’t prompt people to be passionate about their work; in fact, it can lead them to feel bribed or controlled. Intrinsic motivation, by contrast, comes from inside the individual. It’s a person’s abiding interest in certain activities or deep love of particular challenges. Employees are most creative when they are intrinsically motivated- in other words, when the work itself is motivating. It can be time consuming to try to influence an employee’s expertise or creative-thinking skills. It’s easier to affect someone’s intrinsic motivation- and the results are more immediate. Activities that enhance intrinsic motivation fall into a few general categories: challenge, freedom, resources, work-group features, supage 1 pervisory encouragement, and organizational support. Some specific recommendations: Match the right people with the right assignments, so employees are stretched but not stretched too thin. Work teams that have diverse perspectives will generate more creativity than homogenous groups. Give people freedom within the company’s goals. Tell them which mountain to climb, but let them decide how to climb it. Keep the objectives stable for a meaningful period of time- it’s hard to reach the top of a moving mountain. Allocate appropriate amounts of time and project resources. Organizations routinely kill creativity with fake deadlines- which cause distrust- and impossibly tight ones- which cause burnout. Let employees know that what they do matters. This will help them sustain their passion for the work. COPYRIGHT  © 2000 HARVARD BUSINESS SCHOOL PUBLISHING CORPORATION. ALL RIGHTS RESERVED. Keep doing what you’re doing. Or, if you want to spark innovation, rethink how you motivate, reward, and assign work to people. How to Kill Creativity by Teresa M. Amabile COPYRIGHT  © 1998 HARVARD BUSINESS SCHOOL PUBLISHING CORPORATION. ALL RIGHTS RESERVED. When I consider all the organizations I have studied and worked with over the past 22 years, there can be no doubt: creativity gets killed much more often than it gets supported. For the most part, this isn’t because managers have a vendetta against creativity. On the contrary, most believe in the value of new and useful ideas. However, creativity is undermined unintentionally every day in work environments that were established- for entirely good reasons- to maximize business imperatives such as coordination, productivity, and control. Managers cannot be expected to ignore business imperatives, of course. But in working toward these imperatives, they may be inadvertently designing organizations that systematically crush creativity. My research shows that it is possible to develop the best of both worlds: organizations in which business imperatives are attended to and creativity ? urishes. Building such organizations, however, requires us to understand precisely what kinds of managerial practices foster creativity- and which kill it. What Is Business Creativity? We tend to associate creativity with the arts and to think of it as the expression of highly original ideas. Think of how Pablo Picasso reinvented the conventions of painting or how William Faulkner rede? ned ? ction. In business, originality isnâ⠂¬â„¢t enough. To be creative, an idea must also be appropriate- useful and actionable. It must somehow in? ence the way business gets done- by improving a product, for instance, or by opening up a new way to approach a process. The associations made between creativity and artistic originality often lead to confusion about the appropriate place of creativity in business organizations. In seminars, I’ve asked managers if there is any place they don’t want creativity in their companies. About 80% of the time, they answer, â€Å"Accounting. † Creativity, they seem to believe, belongs just in marketing and RD. But creativity can bene? t every function of an organization. Think of activity-based accounting. It was an invention- an accounting invention- and its impact on business harvard business review september–october 1998 page 2 How to Kill Creativity Teresa M. Amabile is the M. B. A. Class of 1954 Professor of Business Administration and senior associate dean for research at the Harvard Business School in Boston, Massachusetts. has been positive and profound. Along with fearing creativity in the accounting department- or really, in any unit that involves systematic processes or legal regulations- many managers also hold a rather narrow view of the creative process. To them, creativity refers to the way people think- how inventively they approach problems, for instance. Indeed, thinking imaginatively is one part of creativity, but two others are also essential: expertise and motivation. Expertise encompasses everything that a person knows and can do in the broad domain of his or her work. Take, for example, a scientist at a pharmaceutical company who is charged with developing a blood-clotting drug for hemophiliacs. Her expertise includes her basic talent for thinking scienti? ally as well as all the knowledge and technical abilities that she has in the ? elds of medicine, chemistry, biology, and biochemistry. It doesn’t matter how she acquired this expertise, whether through formal education, practical experience, or interaction with other professionals. Regardless, her expertise constitutes what the Nobel laureate, economist, and psychologist Herb Simon calls her â€Å"network of possible wanderings,† the intellectual space that she uses to explore and solve problems. The larger this space, the better. Creative thinking, as noted above, refers to how people approach problems and solutions- their capacity to put existing ideas together in new combinations. The skill itself depends quite a bit on personality as well as on how a person thinks and works. The pharmaceutical scientist, for example, will be more creative if her personality is such that she feels comfortable disagreeing with others- that is, if she naturally tries out solutions that depart from the status quo. Her creativity will be enhanced further if she habitually turns problems upside down and combines knowledge from seemingly disparate ? lds. For example, she might look to botany to help ? nd solutions to the hemophilia problem, using lessons from the vascular systems of plants to spark insights about bleeding in humans. As for work style, the scientist will be more likely to achieve creative success if she perseveres through a dif? cult problem. Indeed, plodding through long dry spells of tedious experimentation inc reases the probability of truly creative breakthroughs. So, too, does a work style that uses â€Å"incubation,† the ability to set aside dif? ult problems temporarily, work on something else, and then return later with a fresh perspective. Expertise and creative thinking are an individual’s raw materials- his or her natural resources, if you will. But a third factor- motivation- determines what people will actually do. The scientist can have outstanding educational credentials and a great facility in generating new perspectives to old problems. But if she lacks the motivation to do a particular job, she simply won’t do it; her expertise and creative thinking will either go untapped or be applied to something else. My research has repeatedly demonstrated, however, that all forms of motivation do not have the same impact on creativity. In fact, it shows that there are two types of motivation- extrinsic and intrinsic, the latter being far more essential for creativity. But let’s explore extrinsic ? rst, because it is often at the root of creativity problems in business. Extrinsic motivation comes from outside a person- whether the motivation is a carrot or a stick. If the scientist’s boss promises to reward her ? nancially should the blood-clotting project succeed, or if he threatens to ? e her should it fail, she will certainly be motivated to ? nd a solution. But this sort of motivation â€Å"makes† the scientist do her job in order to get something desirable or avoid something painful. Obviously, the most common extrinsic motivator managers use is money, which doesn’t necessarily stop people from being creative. But in many situations, it doesn’t help either , especially when it leads people to feel that they are being bribed or controlled. More important, money by itself doesn’t make employees passionate about their jobs. A cash reward can’t magically prompt people to ? d their work interesting if in their hearts they feel it is dull. But passion and interest- a person’s internal desire to do something- are what intrinsic motivation is all about. For instance, the scientist in our example would be intrinsically motivated if her work on the blood-clotting drug was sparked by an intense interest in hemophilia, a personal sense of challenge, or a drive to crack a problem that no one else has been able to solve. When people are intrinsically motivated, they engage in their work for the challenge and enjoyment of it. The work itself is motivating. In fact, in our creativity research, my students, colleagues, and I have found so harvard business review september–october 1998 page 3 How to Kill Creativity much evidence in favor of intrinsic motivation that we have articulated what we call the Intrinsic Motivation Principle of Creativity: people will be most creative when they feel motivated primarily by the interest, satisfaction, and challenge of the work itself- and not by external pressures. (For more on the differences between intrinsic and extrinsic motivation, see the insert â€Å"The Creativity Maze. †) Managing Creativity Managers can in? ence all three components of creativity: expertise, creative-thinking skills, and motivation. But the fact is that the ? rst two are more dif? cult and time consuming to in? uence than motivation. Yes, regular scienti? c seminars and professional conferences will undoubtedly add to the scientist’s expertise in hemophilia and related ? elds. And training in brainsto rming, problem solving, and so-called lateral thinking might give her some new tools to use in tackling the job. But the time and money involved in broadening her knowledge and expanding her creative-thinking skills would be great. By contrast, our research has shown that intrinsic motivation can be increased considerably by even subtle changes in an organization’s environment. That is not to say that managers should give up on improving expertise and creative-thinking skills. But when it comes to pulling levers, they should know that those that affect intrinsic motivation will yield more immediate results. More speci? cally, then, what managerial practices affect creativity? They fall into six general categories: challenge, freedom, resources, work-group features, supervisory encouragement, and organizational support. These categories have emerged from more than two decades of research focused primarily on one question: What are the links between work environment and creativity? We have used three methodologies: experiments, interviews, and surveys. While controlled experiments allowed us to identify causal links, the interviews and surveys gave us insight into the richness and complexity of creativity within business organizations. We have studied dozens of companies and, within those, hundreds of individuals and teams. In each research initiative, our goal has been to identify which managerial practices are de? itively linked to positive creative outcomes and which are not. For instance, in one project, we interviewed dozens of employees from a wide variety of companies and industries and asked them to describe in detail the most and least creative events in their careers. We then closely studied the transcripts of those interviews, noting the managerial practices- or other patterns- that appear ed repeatedly in the successful creativity stories and, conversely, in those that were unsuccessful. Our research has also been bolstered by a quantitative survey instrument The Creativity Maze To understand the differences between extrinsic and intrinsic motivation, imagine a business problem as a maze. One person might be motivated to make it through the maze as quickly and safely as possible in order to get a tangible reward, such as money- the same way a mouse would rush through for a piece of cheese. This person would look for the simplest, most straightforward path and then take it. In fact, if he is in a real rush to get that reward, he might just take the most beaten path and solve the problem exactly as it has been solved before. That approach, based on xtrinsic motivation, will indeed get him out of the maze. But the solution that arises from the process is likely to be unimaginative. It won’t provide new insights about the nature of the problem or reveal new ways of looking at it. The rote solution probably won’t move the business forward. Another person might have a different approach to the maze. She might actually ? nd the process of wandering ar ound the different paths- the challenge and exploration itself- fun and intriguing. No doubt, this journey will take longer and include mistakes, because any maze- any truly complex problem- has many more dead ends than exits. But when the intrinsically motivated person ? nally does ? nd a way out of the maze- a solution- it very likely will be more interesting than the rote algorithm. It will be more creative. There is abundant evidence of strong intrinsic motivation in the stories of widely recognized creative people. When asked what makes the difference between creative scientists and those who are less creative, the Nobel prize–winning physicist Arthur Schawlow said, â€Å"The labor-oflove aspect is important. The most successful scientists often are not the most talented, but the ones who are just impelled by curiosity. They’ve got to know what the answer is. † Albert Einstein talked about intrinsic motivation as â€Å"the enjoyment of seeing and searching. † The novelist John Irving, in discussing the very long hours he put into his writing, said, â€Å"The unspoken factor is love. The reason I can work so hard at my writing is that it’s not work for me. † And Michael Jordan, perhaps the most creative basketball player ever, had a â€Å"love of the game† clause inserted into his contract; he insisted that he be free to play pick-up basketball games any time he wished. Creative people are rarely superstars like Michael Jordan. Indeed, most of the creative work done in the business world today gets done by people whose names will never be recorded in history books. They are people with expertise, good creative-thinking skills, and high levels of intrinsic motivation. And just as important, they work in organizations where managers consciously build environments that support these characteristics instead of destroying them. harvard business review september–october 1998 page 4 How to Kill Creativity Deciding how much time and money to give to a team or project is a judgment call that can either support or kill creativity. called KEYS. Taken by employees at any level of an organization, KEYS consists of 78 questions used to assess various work-place conditions, such as the level of support for creativity from top-level managers or the organization’s approach to evaluation. Taking the six categories that have emerged from our research in turn, let’s explore what managers can do to enhance creativity- and what often happens instead. Again, it is important to note that creativity-killing practices are seldom the work of lone managers. Such practices usually are systemic- so widespread that they are rarely questioned. Challenge. Of all the things managers can do to stimulate creativity, perhaps the most ef? cacious is the deceptively simple task of matching people with the right assignments. Managers can match people with jobs that play to their expertise and their skills in creative thinking, and ignite intrinsic motivation. Perfect matches stretch employees’ abilities. The amount of stretch, however, is crucial: not so little that they feel bored but not so much that they feel overwhelmed and threatened by a loss of control. Making a good match requires that managers possess rich and detailed information about their employees and the available assignments. Such information is often dif? cult and time consuming to gather. Perhaps that’s why good matches are so rarely made. In fact, one of the most common ways managers kill creativity is by not trying to obtain the information necessary to make good connections between people and jobs. Instead, something of a shotgun wedding occurs. The most eligible employee is wed to the most eligible- that is, the most urgent and open- assignment. Often, the results are predictably unsatisfactory for all involved. Freedom. When it comes to granting freedom, the key to creativity is giving people autonomy concerning the means- that is, concerning process- but not necessarily the ends. People will be more creative, in other words, if you give them freedom to decide how to climb a particular mountain. You needn’t let them choose which mountain to climb. In fact, clearly speci? ed strategic goals often enhance people’s creativity. I’m not making the case that managers should leave their subordinates entirely out of goal- or agenda-setting discussions. But they should understand that inclusion in those dis- cussions will not necessarily enhance creative output and certainly will not be suf? cient to do so. It is far more important that whoever sets the goals also makes them clear to the organization and that these goals remain stable for a meaningful period of time. It is dif? ult, if not impossible, to work creatively toward a target if it keeps moving. Autonomy around process fosters creativity because giving people freedom in how they approach their work heightens their intrinsic motivation and sense of ownership. Freedom about process also allows people to approach problems in ways that make the most of their expertise and their creative-thinking skills. The task may end up being a stretch for them, but they can use their strengths to meet the challenge. How do executives mismanage freedom? There are two common ways. First, managers tend to change goals frequently or fail to de? ne them clearly. Employees may have freedom around process, but if they don’t know where they are headed, such freedom is pointless. And second, some managers fall short on this dimension by granting autonomy in name only. They claim that employees are â€Å"empowered† to explore the maze as they search for solutions but, in fact, the process is proscribed. Employees diverge at their own risk. Resources. The two main resources that affect creativity are time and money. Managers need to allot these resources carefully. Like matching people with the right assignments, deciding how much time and money to give to a team or project is a sophisticated judgment call that can either support or kill creativity. Consider time. Under some circumstances, time pressure can heighten creativity. Say, for instance, that a competitor is about to launch a great product at a lower price than your offering or that society faces a serious problem and desperately needs a solution- such as an AIDS vaccine. In such situations, both the time crunch and the importance of the work legitimately make people feel that they must rush. Indeed, cases like these would be apt to increase intrinsic motivation by increasing the sense of challenge. Organizations routinely kill creativity with fake deadlines or impossibly tight ones. The former create distrust and the latter cause burnout. In either case, people feel overcontrolled and unful? lled- which invariably damages motivation. Moreover, creativity often harvard business review september–october 1998 page 5 How to Kill Creativity In many companies, new ideas are met not with open minds but with time-consuming layers of evaluation. takes time. It can be slow going to explore new concepts, put together unique solutions, and wander through the maze. Managers who do not allow time for exploration or do not schedule in incubation periods are unwittingly standing in the way of the creative process. When it comes to project resources, again managers must make a ? t. They must determine the funding, people, and other resources that a team legitimately needs to complete an assignment- and they must know how much the organization can legitimately afford to allocate to the assignment. Then they must strike a compromise. Interestingly, adding more resources above a â€Å"threshold of suf? ciency† does not boost creativity. Below that threshold, however, a restriction of resources can dampen creativity. Unfortunately, many managers don’t realize this and therefore often make another mistake. They keep resources tight, which pushes people to channel their creativity into ? nding additional resources, not in actually developing new products or services. Another resource that is misunderstood when it comes to creativity is physical space. It is almost conventional wisdom that creative teams need open, comfortable of? es. Such an atmosphere won’t hurt creativity, and it may even help, but it is not nearly as important as other managerial initiatives that in? uence creativity. Indeed, a problem we have seen time and time again is managers paying attention to creating the â€Å"right† physical space at the expense of more high-impact actions, such as matching people to the right assignments and granting freedom around work processes. Work-Group Features. If you want to build teams that come up with creative ideas, you must pay careful attention to the design of such teams. That is, you must create mutually supportive groups with a diversity of perspectives and backgrounds. Why? Because when teams comprise people with various intellectual foundations and approaches to work- that is, different expertise and creative thinking styles- ideas often combine and combust in exciting and useful ways. Diversity, however, is only a starting point. Managers must also make sure that the teams they put together have three other features. First, the members must share excitement over the team’s goal. Second, members must display a willingness to help their teammates through dif? ult periods and setbacks. And third, every member must recognize the unique knowledge and perspective that other members bring to the table. These factors enhance not only intrinsic motivation but also expertise and creative-thinking skills. Again, creating such teams requires managers to have a deep understanding of their people. They must be able to assess them not just for their kno wledge but for their attitudes about potential fellow team members and the collaborative process, for their problem-solving styles, and for their motivational hot buttons. Putting together a team with just the right chemistry- just the right level of diversity and supportiveness- can be dif? cult, but our research shows how powerful it can be. It follows, then, that one common way managers kill creativity is by assembling homogeneous teams. The lure to do so is great. Homogeneous teams often reach â€Å"solutions† more quickly and with less friction along the way. These teams often report high morale, too. But homogeneous teams do little to enhance expertise and creative thinking. Everyone comes to the table with a similar mind-set. They leave with the same. Supervisory Encouragement. Most managers are extremely busy. They are under pressure for results. It is therefore easy for them to let praise for creative efforts- not just creative successes but unsuccessful efforts, too- fall by the wayside. One very simple step managers can take to foster creativity is to not let that happen. The connection to intrinsic motivation here is clear. Certainly, people can ? nd their work interesting or exciting without a cheering section- for some period of time. But to sustain such passion, most people need to feel as if their work matters to the organization or to some important group of people. Otherwise, they might as well do their work at home and for their own personal gain. Managers in successful, creative organizations rarely offer speci? c extrinsic rewards for particular outcomes. However, they freely and generously recognize creative work by individuals and teams- often before the ultimate commercial impact of those efforts is known. By contrast, managers who kill creativity do so either by failing to acknowledge innovative efforts or by greeting them with skepticism. In many companies, for instance, new ideas are met not with open minds but with timeconsuming layers of evaluation- or even with arvard business review september–october 1998 page 6 How to Kill Creativity harsh criticism. When someone suggests a new product or process, senior managers take weeks to respond. Or they put that person through an excruciating critique. Not every new idea is worthy of consideration, of course, but in many organizations, managers habitually demonstrate a reaction that damages creativity. They look for reasons to not use a new idea instead of searching for reasons to explore it further. An interesting psychological dynamic underlies this phenomenon. Our research shows that people believe that they will appear smarter to their bosses if they are more critical- and it often works. In many organizations, it is professionally rewarding to react critically to new ideas. Unfortunately, this sort of negativity bias can have severe consequences for the creativity of those being evaluated. How? First, a culture of evaluation leads people to focus on the external rewards and punishments associated with their output, thus increasing the presence of extrinsic motivation and its potentially negative effects on intrinsic motivation. Second, such a culture creates a climate of fear, which again undermines intrinsic motivation. Finally, negativity also shows up in how managers treat people whose ideas don’t pan out: often, they are terminated or otherwise warehoused within the organization. Of course, ultimately, ideas do need to work; remember that creative ideas in business must be new and useful. The dilemma is that you can’t possibly know beforehand which ideas will pan out. Furthermore, dead ends can sometimes be very enlightening. In many business situations, nowing what doesn’t work can be as useful as knowing what does. But if people do not perceive any â€Å"failure value† for projects that ultimately do not achieve commercial success, they’ll become less and less likely to experiment, explore, and connect with their work on a personal level. Their intrinsic motivation will evaporate. Supervisory encouragement comes in other forms besides rewards and punishment. Another way managers can support creativity is to serve as role models, persevering through tough problems as well as encouraging collaboration and communication within the team. Such behavior enhances all three components of the creative process, and it has the added virtue of being a high-impact practice that a single manager can take on his or her own. It is better still when all managers in an organization serve as role models for the attitudes and behaviors that encourage and nurture creativity. Organizational Support. Encouragement from supervisors certainly fosters creativity, but creativity is truly enhanced when the entire organization supports it. Such support is the job of an organization’s leaders, who must put in place appropriate systems or procedures and emphasize values that make it clear that creative efforts are a top priority. For example, creativity-supporting organizations consistently reward creativity, but they avoid using money to â€Å"bribe† people to come up with innovative ideas. Because monetary rewards make people feel as if they are being controlled, such a tactic probably won’t work. At the same time, not providing suf? cient recognition and rewards for creativity can spawn negative feelings within an organization. People can feel used, or at the least under-appreciated, for their creative efforts. And it is rare to ? nd the energy and passion of intrinsic motivation coupled with resentment. Most important, an organization’s leaders can support creativity by mandating information sharing and collaboration and by ensuring that political problems do not fester. Information sharing and collaboration support all three components of creativity. Take expertise. The more often people exchange ideas and data by working together, the more knowledge they will have. The same dynamic can be said for creative thinking. In fact, one way to enhance the creative thinking of employees is to expose them to various approaches to problem solving. With the exception of hardened misanthropes, information sharing and collaboration heighten peoples’ enjoyment of work and thus their intrinsic motivation. Whether or not you are seeking to enhance creativity, it is probably never a good idea to let political problems fester in an organizational setting. In? ghting, politicking, and gossip are particularly damaging to creativity because they take peoples’ attention away from work. That sense of mutual purpose and excitement so central to intrinsic motivation invariably lessens when people are cliquish or at war with one another. Indeed, our research suggests that intrinsic motivation increases when people are aware that those around them are excited by their jobs. When political problems abound, people feel that their work is threatened by harvard business review september–october 1998 page 7 How to Kill Creativity others’ agendas. Finally, politicking also undermines expertise. The reason? Politics get in the way of open communication, obstructing the ? ow of information from point A to point B. Knowledge stays put and expertise suffers. From the Individual to the Organization Can executives build entire organizations that support creativity? The answer is yes. Consider the results of an intensive research project we recently completed called the Team Events Study. Over the course of two years, we studied more than two dozen teams in seven companies across three industries: high tech, consumer products, and chemicals. By following each team every day through the entire course of a creative project, we had a window into the details of what happened as the project progressed- or failed to progress, as the case may be. We did this through daily con? dential e-mail reports from every person on each of the teams. At the end of each project, and at several points along the way, we used con? dential reports from company experts and from team members to assess the level of creativity used in problem solving as well as the overall success of the project. As might be expected, the teams and the companies varied widely in how successful they were at producing creative work. One organization, which I will call Chemical Central Research, seemed to be a veritable hotbed of creativity. Chemical Central supplied its parent organization with new formulations for a wide variety of industrial and consumer products. In many respects, however, members of Chemical Central’s development teams were unremarkable. They were well educated, but no more so than people in many other companies we had studied. The company was doing well ? nancially, but not enormously THE THREE COMPONENTS OF CREATIVITY Expertise is, in a word, knowledge- technical, procedural, and intellectual. Expertise Creativity Creativethinking skills Motivation harvard business review september–october 1998 page 8 How to Kill Creativity Some creative ideas soar; others sink. To enhance creativity, there should always be a safety net below the people who make suggestions. better than most other companies. What seemed to distinguish this organization was the quality of leadership at both the topmanagement level and the team level. The way managers formed teams, communicated with them, and supported their work enabled them to establish an organization in which creativity was continually stimulated. We saw managers making excellent matches between people and assignments again and again at Chemical Central. On occasion, team members were initially unsure of whether they were up to the challenge they were given. Almost invariably, though, they found their passion and interest growing through a deep involvement in the work. Their managers knew to match them with jobs that had them working at the top of their competency levels, pushing the frontiers of their skills, and developing new competencies. But managers were careful not to allow too big a gap between employees’ assignments and their abilities. Moreover, managers at Chemical Central collaborated with the teams from the outset of a project to clarify goals. The ? al goals, however, were set by the managers. Then, at the day-to-day operational level, the teams were given a great deal of autonomy to make their own decisions about product development. Throughout the project, the teams’ leaders and top-level managers periodically checked to see that work was directed toward the overall goals. But people were given real free dom around the implementation of the goals. As for work-group design, every Chemical Central team, though relatively small (between four and nine members), included members of diverse professional and ethnic backgrounds. Occasionally, that diversity led to communication dif? ulties. But more often, it sparked new insights and allowed the teams to come up with a wider variety of ways to accomplish their goals. One team, for example, was responsible for devising a new way to make a major ingredient for one of the company’s most important products. Because managers at Chemical Central had worked consciously to create a diverse team, it happened that one member had both a legal and a technical background. This person realized that the team might well be able to patent its core idea, giving the company a clear advantage in a new market. Because team members were mutually supportive, that ember was willing and eager to work closely with the inventor. Together, these individuals hel ped the team navigate its way through the patent application process. The team was successful and had fun along the way. Supervisory encouragement and organizational support were also widespread at Chemical Central. For instance, a member of one team received a company award as an outstanding scientist even though, along the way, he had experienced many failures as well as successes. At one point, after spending a great deal of time on one experiment, he told us, â€Å"All I came up with was a pot of junk. Still, the company did not punish or warehouse him because of a creative effort that had failed. Instead, he was publicly lauded for his consistently creative work. Finally, Chemical Central’s leaders did much to encourage teams to seek support from all units within their divisions and to encourage collaboration across all quarters. The general manager of the research unit himself set an example, offering both strategic and technical ideas whenever teams approached him for help. Indeed, he explicitly made cross-team support a priority among top scientists in the organization. As a result, such support was expected and recognized. For example, one team was about to test a new formulation for one of the company’s major products. Because the team was small, it had to rely on a materials-analysis group within the organization to help conduct the tests. The analysis group not only helped out but also set aside generous blocks of time during the week before testing to help the team understand the nature and limits of the information the group would provide, when they would have it, and what they would need from the team to support them effectively. Members of the team were con? dent that they could rely on the materials-analysis group throughout the process, and the trials went well- despite the usual technical dif? culties encountered in such testing. By contrast, consider what we observed at another company in our study, a consumer products company we’ll call National Houseware Products. For years, National had been well known for its innovation. But recently, the company had been restructured to accommodate a major growth spurt, and many senior managers had been ? red or harvard business review september–october 1998 age 9 How to Kill Creativity transferred. National’s work environment had undergone drastic changes. At the same time, new product successes and new business ideas seemed to be slowing to a trickle. Interestingly, the daily reports of the Team Events Study revealed that virtually all creativity killers were present. Managers undermined autonomy by continually changing goals and interfering with processes. At one quarterly review meeting, for example, four priorities that had been de? ned by management at the previous quarterly review meeting were not even mentioned. In another instance, a product that had been identi? ed as the team’s number one project was suddenly dropped without explanation. Resources were similarly mismanaged. For instance, management perennially put teams under severe and seemingly arbitrary time and resource constraints. At ? rst, many team members were energized by the ? re-? ghting atmosphere. They threw themselves into their work and rallied. But after a few months, their verve had diminished, especially because the pressures had proved meaningless. But perhaps National’s managers damaged creativity most with their approach to evaluation. They were routinely critical of new suggestions. One employee told us that he was afraid to tell his managers about some radical ideas that he had developed to grow his area of the business. The employee was wildly enthusiastic about the potential for his ideas but ultimately didn’t mention them to any of his bosses. He wondered why he should bother talking about new ideas when each one was studied for all its ? aws instead of its potential. Suggested Readings Teresa M. Amabile, Creativity in Context: Update to the Social Psychology of Creativity (Boulder, Colo. : Westview Press, 1996). Teresa M. Amabile, Robert Burnside, and Stanley S. Gryskiewicz, User’s Manual for KEYS: Assessing the Climate for Creativity (Greensboro, N. C. : Center for Creative Leadership, 1998). Rosabeth Moss Kanter, Frontiers of Management (Boston, Mass. : Harvard Business School Press, 1997). Through its actions, management had too often sent the message that any big ideas about how to change the status quo would be carefully scrutinized. Those individuals brave enough to suggest new ideas had to endure long- often nasty- meetings, replete with suspicious questions. In another example, when a team took a new competitive pricing program to the boss, it was told that a discussion of the idea would have to wait another month. One exasperated team member noted, â€Å"We analyze so long, we’ve lost the business before we’ve taken any action at all! † Yet another National team had put in particularly long hours over a period of several weeks to create a radically improved version of a major product. The team succeeded in bringing out the product on time and in budget, and it garnered promising market response. But management acted as if everything were business as usual, providing no recognition or reward to the team. A couple of months later, when we visited the team to report the results of our study, we learned that the team leader had just accepted a job from a smaller competitor. He con? ded that although he felt that the opportunities for advancement and ultimate visibility may have been greater at National, he believed his work and his ideas would be valued more highly somewhere else. And ? nally, the managers at National allowed political problems to fester. Consider the time a National team came up with a great idea to save money in manufacturing a new product- which was especially urgent because a competitor had just come out with a similar product at a lower price. The plan was nixed. As a matter of â€Å"policy†- a code word for long-held allegiances and rivalries within the company- the manufacturing division wouldn’t allow it. One team member commented, â€Å"If facts and ? gures instead of politics reigned supreme, this would be a no-brainer. There are no de? able cost savings from running the products where they do, and there is no counterproposal on how to save the money another way. It’s just ‘No! ’ because this is the way they want it. † Great Rewards and Risks The important lesson of the National and Chemical Central stories is that fostering creativity is in the hands of managers as they harvard business revie w september–october 1998 page 10 How to Kill Creativity Fostering creativity often requires that managers radically change how they build and interact with work groups. think about, design, and establish the work environment. Creativity often requires that managers radically change the ways in which they build and interact with work groups. In many respects, it calls for a conscious culture change. But it can be done, and the rewards can be great. The risks of not doing so may be even greater. When creativity is killed, an organization loses a potent competitive weapon: new ideas. It can also lose the energy and commitment of its people. Indeed, in all my years of research into creativity, perhaps the most dif? cult part has been hearing people complain that they feel sti? d, frustrated, and shut down by their organizations. As one team member at National told us, â€Å"By the time I get home every day, I feel physically, emotionally, and intellectually drained. Help! † Even if organizations seemed trapped in organizational ecosystems that kill creativity- as in the case of National Houseware Products- it is still possible to effect widespread change. Consider a recent transformation at Procter G amble. Once a hotbed of creativity, PG had in recent years seen the number of its product innovations decline signi? cantly. In response, the company established Corporate New Ventures (CNV), a small cross-functional team that embodies many of the creativity-enhancing practices described in this article. In terms of challenge, for instance, members of the CNV team were allowed to elect themselves. How better to make sure someone is intrinsically motivated for an assignment than to ask for volunteers? Building a team from volunteers, it should be noted, was a major departure from standard PG procedures. Members of the CNV team also were given a clear, challenging strategic goal: to invent radical new roducts that would build the company’s future. Again departing from typical PG practices, the team was given enormous latitude around how, when, and where they approached their work. The list of how CNV broke with PG’s creativity-killing practices is a long one. On nearly every creativity-support dimension in the KEYS work-environment survey, CNV scored higher than national norms and higher than t he pre-CNV environment at PG. But more important than the particulars is the question: Has the changed environment resulted in more creative work? Undeniably so, and the evidence is convincing. In the three years since its inception, CNV has handed off 11 projects to the business sectors for execution. And as of early 1998, those products were beginning to ? ow out of the pipeline. The ?rst product, designed to provide portable heat for several hours’ relief of minor pain, was already in test marketing. And six other products were slated to go to test market within a year. Not surprisingly, given CNV’s success, PG is beginning to expand both the size and the scope of its CNV venture. Even if you believe that your organization fosters creativity, take a hard look for creativity killers. Some of them may be ? urishing in a dark corner- or even in the light. But rooting out creativity-killing behaviors isn’t enough. You have to make a conscious effort to support creativity. The result can be a truly innovative company where creativity doesn’t just survive but actually thrives. Reprint 98501 To order, see the next page or call 800-988-0886 or 617-783 -7500 or go to www. hbrreprints. org harvard business review september–october 1998 page 11 How to Kill Creativity Further Reading ARTICLES One More Time: How Do You Motivate Employees? by Frederick Herzberg Harvard Business Review September–October 1987 Product no. 88X Originally published in the January–February 1968 issue of HBR, this classic article offers enduring insights into the psychology of motivation, providing further explanation for why intrinsic motivation is more powerful than extrinsic. In common-sense, often humorous terms, Herzberg explores myths of motivation, outlines steps for job enrichment, and discusses the merits of various forms of the KITA (â€Å"kick in the ass†). This article includes an update by the author. Job Sculpting: The Art of Retaining Your Best People by Timothy Butler and James Waldroop Harvard Business Review September–October 1999 Product no. 282 Butler and Waldroop demonstrate how intrinsic motivation can help companies address one of the thorniest problems in today’s economy: retaining top talent. Many managers are dangerously unfamiliar with the psychology of work satisfaction, which holds that employees are the most engaged when their responsibilities coincide with their â€Å"deeply embedded life interests. † These interests- the authors identify eight- don’t determine what people are good at; they drive the activities that make people happy. Once an employee’s life interests are known, manager and employee can customize work responsibilities through job sculpting- matching the employee to a job that allows her deeply embedded life interests to be expressed. BOOK Harvard Business Review on Breakthrough Thinking Harvard Business School Press 1999 Product no. 181X Amabile’s â€Å"How to Kill Creativity† is one of the eight articles in this collection. Other topics explored include identifying customer needs that customers themselves have not yet recognized, promoting new understanding of the competitive environment, and fostering innovation. Another article, â€Å"A Film Director’s Approach to Managing Creativity,† is an account of the filming of Night Moves. It describes how director Arthur Penn successfully managed stress, conflict, motivation, and other elements familiar to businesses. To Order For Harvard Business Review reprints and subscriptions, call 800-988-0886 or 617-783-7500. Go to www. hbrreprints. org For customized and quantity orders of Harvard Business Review article reprints, call 617-783-7626, or e-mai [emailprotected] harvard. edu page 12

Summary Essay Example | Topics and Well Written Essays - 250 words - 26

Summary - Essay Example Second, he states that in the 1990s, when children in Nepalese f vitamin-A deficiency outbreak, which can be lethal, and health specialists needed people to assist in distributing supplements, the countrys grandmothers, were recruited because it was known that they had both the time to distribute the supplements and the moral authority to ensure children took them. â€Å"In 2005, 48,000 grandmothers were giving-out vitamin A supplements to 3.5 million children nationwide.† Next, Kluger argues that there are several variables that explicate the â€Å"mom-as-health-czar† observable fact. First-and-foremost, it starts with evolution, however it doesnt end there. Females of almost all species spend a lot of energy and time producing young, compared to males and are therefore very much motivated to look after that investment. Finally, Kluger emphasizes that for women, what begins as special treatment to their own healthiness soon extends to the whole family. According to som e health specialists, one reason women may be more accustomed to health-care issues, is plainly that their biology offers them more reason to be. Women experience their years of childbearing and are advised to have habitual health checks. However, Kluger states that father’s involvement in matters of family health-care are supposed to not be minimized; they should also be involved in their families’ health-care; because â€Å"a present-and accounted-for family normally leads-to healthier