Thursday, 21 February 2013

80/20 - the Pareto Principle

80-20-principle

In 1906, Italian economist Vilfredo Pareto created a mathematical formula to describe the unequal distribution of wealth in his country, observing that twenty percent of the people owned eighty percent of the wealth. In the late 1940s, Dr. Joseph M. Juran inaccurately attributed the 80/20 Rule to Pareto, calling it Pareto's Principle. While it may be misnamed, Pareto's Principle or Pareto's Law as it is sometimes called, can be a very effective tool to help you manage effectively.

Where It Came From

After Pareto made his observation and created his formula, many others observed similar phenomena in their own areas of expertise. Quality Management pioneer, Dr. Joseph Juran, working in the US in the 1930s and 40s recognized a universal principle he called the "vital few and trivial many" and reduced it to writing. In an early work, a lack of precision on Juran's part made it appear that he was applying Pareto's observations about economics to a broader body of work. The name Pareto's Principle stuck, probably because it sounded better than Juran's Principle.

As a result, Dr. Juran's observation of the "vital few and trivial many", the principle that 20 percent of something always are responsible for 80 percent of the results, became known as Pareto's Principle or the 80/20 Rule.

What It Means

The 80/20 Rule means that in anything a few (20 percent) are vital and many(80 percent) are trivial. In Pareto's case it meant 20 percent of the people owned 80 percent of the wealth. In Juran's initial work he identified 20 percent of the defects causing 80 percent of the problems. Project Managers know that 20 percent of the work (the first 10 percent and the last 10 percent) consume 80 percent of your time and resources. You can apply the 80/20 Rule to almost anything, from the science of management to the physical world.

You know 20 percent of your stock takes up 80 percent of your warehouse space and that 80 percent of your stock comes from 20 percent of your suppliers. Also 80 percent of your sales will come from 20 percent of your sales staff. 20 percent of your staff will cause 80 percent of your problems, but another 20 percent of your staff will provide 80 percent of your production. It works both ways.

How It Can Help You

The value of the Pareto Principle for a manager is that it reminds you to focus on the 20 percent that matters. Of the things you do during your day, only 20 percent really matter. Those 20 percent produce 80 percent of your results. Identify and focus on those things. When the fire drills of the day begin to sap your time, remind yourself of the 20 percent you need to focus on. If something in the schedule has to slip, if something isn't going to get done, make sure it's not part of that 20 percent.

There is a management theory floating around at the moment that proposes to interpret Pareto's Principle in such a way as to produce what is called Superstar Management. The theory's supporters claim that since 20 percent of your people produce 80 percent of your results you should focus your limited time on managing only that 20 percent, the superstars. The theory is flawed, as we are discussing here because it overlooks the fact that 80 percent of your time should be spent doing what is really important. Helping the good become better is a better use of your time than helping the great become terrific. Apply the Pareto Principle to all you do, but use it wisely.

Manage This Issue

Pareto's Principle, the 80/20 Rule, should serve as a daily reminder to focus 80 percent of your time and energy on the 20 percent of you work that is really important. Don't just "work smart", work smart on the right things.

Tuesday, 22 January 2013

urban art in a rural environment

Img_1929
Img_1931
Img_1934

ARTIVIST : creative by any means necessary!  

+ stencils on bales at Northern Bass Festival, NYE 2012/13, Mangawhai

3rd International Visual Methods Conference (IVM III) 2013

Register_for_the_international_visual_methods_conference_uk_sept_13-15th_2011

Visual Methods in Mediated Environments: Connecting Diverse Worlds

Victoria University of Wellington in conjunction with Museum of New Zealand Te Papa Tongarewa Wellington, Aotearoa New Zealand

2nd - 9th of September, 2013

What happens when we use visual methods in different ways, in different spaces?

We warmly invite researchers, artists, scientists, educators, curators, designers and producers from academia, public sector organisations, industry, Indigenous/Aboriginal and community organisations, not-for-profit, and art practice organisations into the conference space.

We are initially seeking proposals for activities that will engage the conference title, question and location, and stimulate creative collaborations between individuals, collectives and institutions which cross cultural, disciplinary, sectoral and/or geographic boundaries.

Proposals may take different forms: workshops, exhibitions, screenings, ephemeral pieces, temporary sculptures, mediated 3D presentations, mash-ups, ʻinfotainmentʼ-style presentations, static 2D designs or field-trips (but not limited to these suggestions).

Selection will be influenced by: an acknowledgement of the bi-cultural status of Aotearoa/New Zealand, its deep connection to Pacific Island states, availability of resources, environmental and/or social impact. Preference will be given to individuals/teams that will also be presenting a paper within the academic core of the conference. A separate call for academic papers/panels investigating Visual Methods on the conference theme(s) will be sent out in mid-January.

Proposals and paper abstracts will be due 28 February 2013.

A broad cross-faculty/inter-institutional panel will be involved with selection and all proposals/abstracts will receive feedback, whether accepted into the conference programme or not. This feedback will be sent by 31 March 2013.

Details of dates, venues, registration rates (including subsidies for PhD students and low-income/community/n-f-p participants), keynote speakers and draft programme will be available with the launch of the conference website in early February 2013. (Early-bird registration is expected to close in early July).

For more information contact:

Sara Kindon Sara.Kindon@vuw.ac.nz or Geoff Hume-Cook tilnz@me.com

 

The Second International Visual Research Methods Conference was held at The Open University in Milton Keynes, UK, 13-15 September 2011.  

This innovative and exciting conference covered the use of visual methods in research with presentations and commentaries by social scientists and practitioners including visual artists and photographers. It boasts an impressive mix of around 150 papers from international speakers, six film screenings, six exhibitions, several hands-on workshops, book launches, and an opportunity to visit the MK Gallery and speak with local artists. 

The event featured three keynote speakers who are leading practitioners in their fields: 

Filmmaker Katerina Cizek - Canadian documentary filmmaker whose digital revolution work has won a host of awards and National Film Board of Canada's Filmmaker-in-Residence at an inner city hospital

Professor Carey Jewitt  - educationalist from the London Knowledge Lab, Institute of Education, specialising in visual and multimodal theory and research methods, technologies in teaching and learning and video based research

Professor Ludmilla Jordanova - historian at Kings College London specialising in historian's use of visual and material culture.

3rd International Visual Methods Conference (IVM III) 2013

Visual Methods in Mediated Environments: Connecting Diverse Worlds

Victoria University of Wellington in conjunction with

Museum of New Zealand Te Papa Tongarewa

Wellington, Aotearoa New Zealand

First week of September, 2013

(final dates to be confirmed in late January)

What happens when we use visual methods in different ways, in different spaces.

We warmly invite researchers, artists, scientists, educators, curators, designers and producers from academia, public sector organisations, industry, Indigenous/Aboriginal and community organisations, not-for-profit, and art practice organisations into the conference space.

We are initially seeking proposals for activities that will engage the conference title, question and location, and stimulate creative collaborations between individuals, collectives and institutions which cross cultural, disciplinary, sectoral and/or geographic boundaries.

Proposals may take different forms: workshops, exhibitions, screenings, ephemeral pieces, temporary sculptures, mediated 3D presentations, mash-ups, ʻinfotainmentʼ-style presentations, static 2D designs or field-trips (but not limited to these suggestions).

Selection will be influenced by: an acknowledgement of the bi-cultural status of Aotearoa/New Zealand, its deep connection to Pacific Island states, availability of resources, environmental and/or social impact. Preference will be given to individuals/teams that will also be presenting a paper within the academic core of the conference. A separate call for academic papers/panels investigating Visual Methods on the conference theme(s) will be sent out in mid-January.

Proposals and paper abstracts will be due 28 February 2013.

A broad cross-faculty/inter-institutional panel will be involved with selection and all proposals/abstracts will receive feedback, whether accepted into the conference programme or not. This feedback will be sent by 31 March 2013.

Details of dates, venues, registration rates (including subsidies for PhD students and low-income/community/n-f-p participants), keynote speakers and draft programme will be available with the launch of the conference website in early February 2013. (Early-bird registration is expected to close in early July).

For more information contact:

Sara Kindon Sara.Kindon@vuw.ac.nz or Geoff Hume-Cook tilnz@me.com

500wrd_ivm_2013_high_colr2

Saturday, 19 January 2013

Unclear Holocaust - anti banality

UNCLEAR HOLOCAUST (2011)
Detourned by The Anti-Banality Union. 65 mins. U.SS.A.
Amerikan with some Arabic.

Unclear Holocaust is a feature-length autopsy of Hollywood's New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics.

"A Terrorist film collective hijacks the U.S. propaganda apparatus and detonates it over New York. Everything is obliterated and the world celebrates. Through fifty studio event-movies abstracted of all demokratic variation, we see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World. Every screen is lifted and bares the obscene underside of all these images. Movements of character and narrative burst into pure and mechanically perfect propulsions of a psychotic camera from which all this violence emanates. The Mise-En-Scene becomes an inventory of the dominant visual-auditory arsenal, enumerating and measuring the power of every weapon available to the Spectacle. Utilizing them all with paradigmatic rigor, the Hollywood-Military complex launches an endless pre-emptive attack on its own shadow, the Terrorist. And, as in all encounters between doubles, the former ends up joyously suiciding itself." -A.B.U. Communique #1

"When I first heard of Unclear Holocaust, the debut project of nebulous situationist art collective The Anti-Banality Union, my initial impression was that these impious troublemakers would fully deserve the inevitable fatwa that will be vexed upon them. However, after viewing part of the work, which reconstitutes scenes from over 50 Hollywood New York City disaster porn films into a more or less coherent narrative, I am pleased to report it is a rather damning yet thoughtful–and dare I say hilarious and enjoyable?–reminder of how bad Hollywood had pushed this scenario. (In cinematic terms, what is 9/11, after all, other than all three* Die Hard movies–exploding tower, exploding airplane, exploding New York City–rolled into one?) “The Spectacle of Terrorism forces the Terrorism of Spectacle upon us…” the ABU wrote me in this mysterious, Frankfurt School-inspired communique. I’m reminded of the remarks Guardian critic Peter Bradshaw shared on 9/11 the other day:

'Perhaps the whole point of 9/11 was that it could never be represented on the cinema screen. The diabolic, situationist genius of the kamikaze attacks was that they were themselves a kind of counter-cinema, a spectacle very possibly inspired by the art-form, but rendering obsolete any comparable fictions it had to offer. The 9/11 attacks smashed Hollywood’s monopoly on myth-making and image production, and inspiring as they did only horror and revenge, aimed a devastating blow at imagination, and maybe for a while enfeebled the reputation of cinema and all the arts.'

Thankfully for the ABU, Hollywood pulled its shit together and made Nicolas Cage apocalypse thriller Knowing, providing Unclear Holocaust about half its runtime." -ScreenSlate.com

-?!

Saturday, 12 January 2013

1940 New Zealand Centennial Exhibition

In 1940 New Zealand celebrated its national coming of age. Maori history and the centenary of the signing of the Treaty of Waitangi took a back seat to the celebration of a century of European effort and progress in New Zealand. Local and provincial events plugged into a full diary of national events - the unveiling of memorials, historical re-enactments, and music and drama festivals. An array of specially commissioned publications recorded the stories of progress, re-writing the country's past.

The jewel in the centennial crown was the vast 55-acre Centennial Exhibition in Wellington. To many New Zealanders, its modern buildings and soaring central tower seemed to symbolise 'the progress and ambition of the young nation'. Others were more interested in the thrills of Playland, the exhibition's big amusement park.