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Friday, November 12, 2010
Thursday, November 11, 2010
Diversity & Context (please follow the link)
http://www.slideshare.net/waterecho/diversity-and-context
(pity all the animation and transitions don't work. gifting myself such a departure was not taken lightly, and the original work was much better (i promise). meanwhile, it was intended to, as the title implies, contextualized the diversity conversation (hint: against forward looking and ignorance))
(pity all the animation and transitions don't work. gifting myself such a departure was not taken lightly, and the original work was much better (i promise). meanwhile, it was intended to, as the title implies, contextualized the diversity conversation (hint: against forward looking and ignorance))
Wednesday, November 10, 2010
Trade Blocs
Abstract
Convey a brief yet meaningful conversation as regards the trade organizations associated with the United States.
Introduction
What is actually involved?Before a proper address, the topic at hand some context may be in order. The array of associations, organizations and other collectives are all organic in their growth and in their associations with others. Moreover, many of them overlap, while some are contained within others.
The status of country to a trading bloc is various, usually holding one of the following distinctions: founded, joined, former, suspended, applicant, Associate, Observer, Full Member and Dialogue partner. The US is an Observer with SAARC and a Dialogue Partner with PIF.
As far back as 1948, the United States was part of a supranational movement, still in existence to this day, called the OAS (the organization for American states). While not a trading bloc in its own right, the purpose of the organization all along has been to create ease and coordinate efforts on entire hemispheric basis. Therefore, its very existence has been the support to both the birth and actuation of the entities known as NAFTA and CAFTA; and may find itself part of a supra-continental organization of trade in the future.The United States is a member of NAFTA, along with its border countries, Canada and Mexico; established in 1993 under the Clinton administration. In 2005, the Bush administration extended the trade reach by establishing CAFTA, a special set of trade considerations reaching well into Central America. CAFTA includes Costa Rica, the Dominican Republic, El Salvador, Guatemala, Honduras, and Nicaragua.
It seems the only thing that these organizations have in common is an opportunity to open up trade. Beyond that, the way they are organized and legislated, the way policies are implemented, and all else that one might assign to such a supranational entity seems purely dictated on a case-by-case basis.
Indeed, considerations of tariffs and taxes and the like are not even contained within these bounds. Beyond trade blocs are collective organizations such as Common markets, Economic and Monetary unions, Customs and monetary unions and Customs unions. One imagines that an exceptionally good living can be created as a consultant, a subject matter expert, if one had the ability to gain and maintain mastery over this bewildering blizzard of moving parts.
Thoughts on NAFTA
If we step outside of ethnocentricity, one quickly realizes that questions such as "which trade bloc is most important" vanish in relativism. NAFTA, as it is, sought to eliminate barriers of trade, increase investment between the US, Canada and Mexico, eventually eliminate tariffs, with separate provisions to cooperate on matters pertaining to the environment and labor. The only area not negotiated trilaterally was Agriculture.
Despite disagreement being effectively about growing the financial well-being of the countries together, issues involving bankruptcies, natural resources and the like continue. Since the advent of NAFTA there has been an increase in foreign takeovers of industry, and in some sectors, U.S. deindustrialization.
Truly, this has insensibly been about money, and nothing more. There seems little or no political (or otherwise) convergence or advantage. Unlike the EU, the sought to make the conversations of trade a mere part of a larger conversation of unity, NAFTA clearly does not enjoy a borderless region. Indeed, the US continues a heated debate as regards its southern border, although the agreement does allow admission for temporary employment under certain circumstances.
Despite standards having been set forth, rules and enforcement sometimes occur ad hoc. Years ago when the Brazilian cotton industry challenged the equanimity of trade, given Americans subsidizing their own, once America was threatened a negotiating team was sent to Brazil to broker a resolution. Given that the American subsidies cannot be turned on and off like a light switch the conclusion was that until America could resolve its own subsidy issue it would begin to subsidize Brazil's cotton crop as well, to the tune of $15 million a year, indefinitely.
It seems the overarching strength of these agreements (at least the ones the United States participates in) lies in strengthening the Corporatocracy. This seems very shortsighted. Other trade blocs may not be as aggressive as the EU is (lack of borders, common currency, and the like), but most seem to be leveraging the extra-governmental neighborliness to as much good advantage as possible; usually for its citizens.
Conclusion
The author envisions an annual e-book, web based, constantly updated and available for a nominal annual fee. Although on the one hand this effort simply scratches the surface, it is a good faith effort and a solid start on embracing an understanding of all that is involved based on the notion of trade blocs.
It may appear to the reader that some opinion may have leaked, please be assured that the author does not have "a dog in the game". This is the authors own constructive criticism, and moving forward it becomes paramount to couch insights in as neutral a tone as possible. However, this is merely a sketch; and this document only bears facts nonetheless.
Clearly, this inquiry has only just begun.
Clearly, this inquiry has only just begun.
Tuesday, November 9, 2010
Sustainability [3 - conclusion]
Film and Photo
Within film and photo there is little more that the practitioner can do to forward the sustainability conversation than to simply be as cautious as possible. The conversation for the materials used includes the majority of the materials that can be addressed already having been so, much of what is now done is digital (so there is the minimization of waste) and the bulk of what remains is intended to last forever (the antithesis of the biodegradable idea).
Still, there are always nooks and crannies where one can seek out an opportunity for improvement. If you are manually photo/film processing, then you are back to the chemicals. Right off the bat this encourages a flurry of research: what needs to be ventilated, what can get recycled (and how), etc. If you are working around spotting, retouching and/or hand coloring (and the like) then you are equally likely to be back with the old-school chemicals and exposures (however, many have improved over the years). This holds true for anything aerosol as well (spray mount, etc.).
One of the nice things about this industry is that old cameras and equipment tend to get collected, so much of this being embraced as sacred. However, some things become so old that they fall apart. If we are talking about brittle leather or scratched and dented metal casing, that is not so much an issue. But when we are talking about old celluloid, faded slides and unintelligible Polaroids®, then one owes it to oneself to contact the waste management in your area to determine the most responsible method of disposal.
Finally, being conscious and doing what one can do on one's own seems always the default position. It is generally recognized that going on safari with the camera, as opposed to a rifle, is the environmentally friendly response. However, don't bring your morning coffee out to an African savanna in a Styrofoam cup that's going to take 400 years to decompose. The point here is, leave everything as you found it or better.
Multimedia (Visual Effects, Motion Graphics, Gaming Design and Animation)
The reader is invited to review the previous section on film and photo, since at essence much of what was stated there tends to be true here as well. For example, if one does find oneself working on old-school animation acetate, the surface and the medium applied may or may not be environmentally friendly. Simply be aware and be as responsible as one can about one's own protection, what becomes of the finished piece and how best to clean up.
The bulk of what really falls to this industry, when it comes to sustainability, (and this includes the television arts as well) is the responsibility one has to one's audience. There seems very little one can do if employed by someone else, besides doing the best you can. However, if you are opening up your own shop, please recognize the awesome responsibility you hold within your capability to influence others.
This author recalls shepherding an entire class of this major through a capstone project. We cast about for ideas as to what to produce for much of our first class. The classic response seemed almost unanimous, it all had to do with in-artful and uninspired storytelling with the only goal in mind to produce as much gratuitous violence as possible. As someone with significant marketing experience the rhyme and reason of such was not lost on this author.
Such is the low hanging fruit, and the large publicly held entities that have to create shareholder wealth have walked themselves into such a corner. Your little shop (a) does not have to proselytize for money, (b) nor can you effectively compete. Therefore, the real vision for this industry actually lays in your hands. Consequently, the opportunity to educate, uplift and otherwise add meaning to people's lives falls to the Independents. This comment is not altruism for its own sake, yet also includes the marketing value of creating your own space. In addition, if it is appropriate to weave in a green message, so be it.
This section necessarily concludes with a mention, much like the concluding mention in the passage above (film and photo). If one does need to stage a kind of activity (say, a chemical fire), you are begged to do your due diligence vis-Ã -vis proper creation and proper cleanup.
Web Design
If one reviews the last two passages one notices that there seem to be less and less opportunity for ways to be sustainable. These three industries have moved in-kind toward greater digitization. Now we find ourselves in an industry that is essentially, completely digital.
The proviso in the last passage about the context of sustainable behavior certainly applies here as well. Yet what does that leave? There is still an opportunity. If you do work in web design, and something had been uploaded into cyberspace that is no longer being used, dismantle it. This may seem a small thing, and yet it still takes literal energy (by someone somewhere) to continue hosting it.
Beyond that, the author invites any other contributions to this conversation (for web design or otherwise). It seems web design is, by its very nature, automatically about as green as it gets.
The author wishes to acknowledge here that this is a first draft. Suggestions, insights, corrections, anecdotes, and other edits are all invited.
Within film and photo there is little more that the practitioner can do to forward the sustainability conversation than to simply be as cautious as possible. The conversation for the materials used includes the majority of the materials that can be addressed already having been so, much of what is now done is digital (so there is the minimization of waste) and the bulk of what remains is intended to last forever (the antithesis of the biodegradable idea).
Still, there are always nooks and crannies where one can seek out an opportunity for improvement. If you are manually photo/film processing, then you are back to the chemicals. Right off the bat this encourages a flurry of research: what needs to be ventilated, what can get recycled (and how), etc. If you are working around spotting, retouching and/or hand coloring (and the like) then you are equally likely to be back with the old-school chemicals and exposures (however, many have improved over the years). This holds true for anything aerosol as well (spray mount, etc.).
One of the nice things about this industry is that old cameras and equipment tend to get collected, so much of this being embraced as sacred. However, some things become so old that they fall apart. If we are talking about brittle leather or scratched and dented metal casing, that is not so much an issue. But when we are talking about old celluloid, faded slides and unintelligible Polaroids®, then one owes it to oneself to contact the waste management in your area to determine the most responsible method of disposal.
Finally, being conscious and doing what one can do on one's own seems always the default position. It is generally recognized that going on safari with the camera, as opposed to a rifle, is the environmentally friendly response. However, don't bring your morning coffee out to an African savanna in a Styrofoam cup that's going to take 400 years to decompose. The point here is, leave everything as you found it or better.
Multimedia (Visual Effects, Motion Graphics, Gaming Design and Animation)
The reader is invited to review the previous section on film and photo, since at essence much of what was stated there tends to be true here as well. For example, if one does find oneself working on old-school animation acetate, the surface and the medium applied may or may not be environmentally friendly. Simply be aware and be as responsible as one can about one's own protection, what becomes of the finished piece and how best to clean up.
The bulk of what really falls to this industry, when it comes to sustainability, (and this includes the television arts as well) is the responsibility one has to one's audience. There seems very little one can do if employed by someone else, besides doing the best you can. However, if you are opening up your own shop, please recognize the awesome responsibility you hold within your capability to influence others.
This author recalls shepherding an entire class of this major through a capstone project. We cast about for ideas as to what to produce for much of our first class. The classic response seemed almost unanimous, it all had to do with in-artful and uninspired storytelling with the only goal in mind to produce as much gratuitous violence as possible. As someone with significant marketing experience the rhyme and reason of such was not lost on this author.
Such is the low hanging fruit, and the large publicly held entities that have to create shareholder wealth have walked themselves into such a corner. Your little shop (a) does not have to proselytize for money, (b) nor can you effectively compete. Therefore, the real vision for this industry actually lays in your hands. Consequently, the opportunity to educate, uplift and otherwise add meaning to people's lives falls to the Independents. This comment is not altruism for its own sake, yet also includes the marketing value of creating your own space. In addition, if it is appropriate to weave in a green message, so be it.
This section necessarily concludes with a mention, much like the concluding mention in the passage above (film and photo). If one does need to stage a kind of activity (say, a chemical fire), you are begged to do your due diligence vis-Ã -vis proper creation and proper cleanup.
Web Design
If one reviews the last two passages one notices that there seem to be less and less opportunity for ways to be sustainable. These three industries have moved in-kind toward greater digitization. Now we find ourselves in an industry that is essentially, completely digital.
The proviso in the last passage about the context of sustainable behavior certainly applies here as well. Yet what does that leave? There is still an opportunity. If you do work in web design, and something had been uploaded into cyberspace that is no longer being used, dismantle it. This may seem a small thing, and yet it still takes literal energy (by someone somewhere) to continue hosting it.
Beyond that, the author invites any other contributions to this conversation (for web design or otherwise). It seems web design is, by its very nature, automatically about as green as it gets.
The author wishes to acknowledge here that this is a first draft. Suggestions, insights, corrections, anecdotes, and other edits are all invited.
Monday, November 8, 2010
Sustainability [02]
Interior Designers / CAD artisans
Architecture, Civil, Industrial Design and Interior Designers have differing exposure to this larger conversation. The informed Civil and Industrial Designers have an opportunity to imprint lasting difference. Increasingly, they do move us toward a cleaner future. Unfortunately, this aspect of the decision process tends to be out of their hands.
One might say Architects have taken the LEEDs here (couldn’t resist). The leeds certification cannot be underestimated for its contribution toward making the global environment friendlier, healthier and more efficient (and cost-effective).
The most common expression coming from an art or design school are Interior designers. The ID folk are keenly aware of what goes on in architecture, and an undeniable movement to embrace leeds is generally seen as established.
What is also true however is that the ID people are the folks who tends to make the decisions when it comes to lighting, furniture and furnishings, all and floor treatments, and so forth. This area is ripe with opportunity to foreword the sustainability conversation.
Earlier we spoke of fabrics and their dyes. Yet, it does not seem as if there is any expression of interior design that is overlooked along this green path. There are environmentally friendly paints, floor coverings (most notably bamboo), and the list continues to spread in every direction.
Culinary
While there are many things that could contribute to making a dining experience greener, there are equally as many balancing considerations. Among them, the consideration of grilling and smoking. We now have extracts that will contribute to such a culinary experience, but they do not match a wide variety of benchmarks in the taste experience when executed by traditional means. Another example would be making lobster available (or not) their locations such as Moscow, Beijing or Denver.
There are many exciting new directions in the culinary arts. Molecular cuisine is such a notable; presentation is the fashion expression of culinary and among the most sustainable expressions is the movement for locavores, (foods that are, from start to finish, local). This reduces the carbon footprint. The movement can also establish its own sustainability by promoting the pride of one's own locale (and all the other positives that come from such a movement, not the least of which is keeping those economic dollars local).
While the local movement through seems to be the most pronounced sustainability expression currently, it is not alone. There are institutions that have been designed to recirculate some of the heat from the kitchen to the dining area, thereby cutting down on the utilities. There are also many partnerships between social service agencies and charities and the restaurants within their reach to ensure that no food goes to waste, being redirected to “soup kitchens”. And let us not overlook the dynamic where food byproducts, such as fryer oil, is being repurposed for fuel.
There may be more examples, and it is certainly hoped that there are more examples to come. Meanwhile, it will be interesting to see the quintessentially green kitchen.
Fashion
There have already been references to the dye used for the fabric. However, much like interior design this applied art is ripe with sustainability opportunities. Among these would be a consideration of fabrics made from plant-based (renewable) fibers, the humane treatment of the wool, silk etc., and the opportunity to source such based materials locally.
I do not yet see a movement where these kinds of considerations come together and are harnessed by a local designer so that community can celebrate its own look. The entrepreneurial spirit usually expresses itself by way of people opening up their own boutique. This remains, however, an untapped opportunity.
Also left unmentioned are all the recycling and re-purposing opportunities. There is some of this occurring, but not nearly enough.
This applied art in particular is not leveraging the sustainability movement nearly as it could; at least not as an industry in its own right.
Architecture, Civil, Industrial Design and Interior Designers have differing exposure to this larger conversation. The informed Civil and Industrial Designers have an opportunity to imprint lasting difference. Increasingly, they do move us toward a cleaner future. Unfortunately, this aspect of the decision process tends to be out of their hands.
One might say Architects have taken the LEEDs here (couldn’t resist). The leeds certification cannot be underestimated for its contribution toward making the global environment friendlier, healthier and more efficient (and cost-effective).
The most common expression coming from an art or design school are Interior designers. The ID folk are keenly aware of what goes on in architecture, and an undeniable movement to embrace leeds is generally seen as established.
What is also true however is that the ID people are the folks who tends to make the decisions when it comes to lighting, furniture and furnishings, all and floor treatments, and so forth. This area is ripe with opportunity to foreword the sustainability conversation.
Earlier we spoke of fabrics and their dyes. Yet, it does not seem as if there is any expression of interior design that is overlooked along this green path. There are environmentally friendly paints, floor coverings (most notably bamboo), and the list continues to spread in every direction.
Culinary
While there are many things that could contribute to making a dining experience greener, there are equally as many balancing considerations. Among them, the consideration of grilling and smoking. We now have extracts that will contribute to such a culinary experience, but they do not match a wide variety of benchmarks in the taste experience when executed by traditional means. Another example would be making lobster available (or not) their locations such as Moscow, Beijing or Denver.
There are many exciting new directions in the culinary arts. Molecular cuisine is such a notable; presentation is the fashion expression of culinary and among the most sustainable expressions is the movement for locavores, (foods that are, from start to finish, local). This reduces the carbon footprint. The movement can also establish its own sustainability by promoting the pride of one's own locale (and all the other positives that come from such a movement, not the least of which is keeping those economic dollars local).
While the local movement through seems to be the most pronounced sustainability expression currently, it is not alone. There are institutions that have been designed to recirculate some of the heat from the kitchen to the dining area, thereby cutting down on the utilities. There are also many partnerships between social service agencies and charities and the restaurants within their reach to ensure that no food goes to waste, being redirected to “soup kitchens”. And let us not overlook the dynamic where food byproducts, such as fryer oil, is being repurposed for fuel.
There may be more examples, and it is certainly hoped that there are more examples to come. Meanwhile, it will be interesting to see the quintessentially green kitchen.
Fashion
There have already been references to the dye used for the fabric. However, much like interior design this applied art is ripe with sustainability opportunities. Among these would be a consideration of fabrics made from plant-based (renewable) fibers, the humane treatment of the wool, silk etc., and the opportunity to source such based materials locally.
I do not yet see a movement where these kinds of considerations come together and are harnessed by a local designer so that community can celebrate its own look. The entrepreneurial spirit usually expresses itself by way of people opening up their own boutique. This remains, however, an untapped opportunity.
Also left unmentioned are all the recycling and re-purposing opportunities. There is some of this occurring, but not nearly enough.
This applied art in particular is not leveraging the sustainability movement nearly as it could; at least not as an industry in its own right.
Sunday, November 7, 2010
Sustainability [01]
From the business perspective, the idea of sustainability tends to be weighed in a cost-benefit analysis. It may seem the idea leaves a taste of immorality and may feel somewhat insulting. We will get back to that in a moment.
From a design perspective, sustainability represents just one more challenge among the several that constitute working with what you have. Fortunately, much of this conversation should unfold in the process of your learning your particular artistic direction. There is certainly plenty that has been and it is being published to this end, and to more fully moved in the direction of mastery you really owe it to yourself to appreciate the fullness of this new aspect. This section will close out with a cursory view of some of the more significant sustainability considerations, major by major.
Back to business. There has been a fortunate increase in sensitivity toward social responsibility. It nonetheless remains true there are still plenty of multinational corporations that will move operations where they can continue to pollute. It is also true that sometimes a cost of operations is seen as outweighing an extra expenditure that would find the product safer (for the environment and or the consumer). Bear in mind, corporations (especially those publicly traded) have an obligation to increase shareholder wealth. Even capitalism has its flaws.
So we understand the downside. The best way to address it seems to be to focus on the upside. It has already been acknowledged here that there is increasing consumer awareness toward being green. All by itself this has yielded huge dividends to companies that have paid heed. Going green no longer has to always translate into paying a premium either. Being socially responsible also yields huge marketing dividends.
Then, of course, they're the companies that are laying the foundation for other companies to go green. Konica Minolta has been working on a new line of fabric dyes of extraordinary brilliance that are also environmentally (and human) friendly. This is no small thing. In the bad old days there were many dyes that were outright toxic. In struggling economies where dyeing cloth was done manually (and, of course, some of this still lingers) people simply worked as long and as hard as they could, and eventually died from contact with such chemicals. Without lingering too long on the fashion industry, just think of all the chemicals that go into leather (that, eventually, leech transdermally into the wearer).
Where companies can go green they do. It's moving beyond this low hanging fruit that the global community is now wrestling through. Ultimately, some more gains we make, the lower the cost, the easier it is to do and the better off we are. We are moving in the right direction.
Advertising: Illustration Graphics & Production
Our little example a moment ago with the clothing dyes certainly had analogy in this area. Actual cobalt is a real toxin, yet used to be powdered and mixed with the medium, exposing artists by breathing it in or exposure to the skin. Beyond significant examples such as this, there have always been issues with ventilation surrounding all the solvents.
Tremendous gains have been made on this front over the last half-century. However, we have now moved from an entirely organic paradigm (as faulted as aspects of it may have been) to now using a significant amount of synthetics.
That was a brief consideration from the design perspective. From the business perspective this is the aspect of the industry that does a tremendous amount of printing, and where packaging designed lives.
As regards printing, we have plenty of recycled paper product, and there are also “green” inks. There are even eco-friendly fonts! The issue here, of course, is how much of this can be translated into something the client will want (and be consistent with what they need).
When it comes to packaging design, the iconic mistake would be bottled water. Possibly dangerous from all the chemicals in the plastic leaching into the water. Beyond that, the packaging costs significantly more than its contents, and maybe around in landfills for generations so that someone would have refreshment across a brief period of time. And perhaps the saddest aspect is that most developed nations have perfectly good drinking water coming out of its faucets at hundreds of the cost.
Packaging has a purpose, and is not going away. Nonetheless, this is something that, by its very nature, will be discarded. There is an increasing effort afoot to make this experience is biodegradable as possible.
As you may have already noticed, the sustainability consideration tends to be about balancing a myriad of considerations. Keeping it in the forefront of your consciousness will certainly go a long way in your contribution being as environmentally friendly as it can be.
From a design perspective, sustainability represents just one more challenge among the several that constitute working with what you have. Fortunately, much of this conversation should unfold in the process of your learning your particular artistic direction. There is certainly plenty that has been and it is being published to this end, and to more fully moved in the direction of mastery you really owe it to yourself to appreciate the fullness of this new aspect. This section will close out with a cursory view of some of the more significant sustainability considerations, major by major.
Back to business. There has been a fortunate increase in sensitivity toward social responsibility. It nonetheless remains true there are still plenty of multinational corporations that will move operations where they can continue to pollute. It is also true that sometimes a cost of operations is seen as outweighing an extra expenditure that would find the product safer (for the environment and or the consumer). Bear in mind, corporations (especially those publicly traded) have an obligation to increase shareholder wealth. Even capitalism has its flaws.
So we understand the downside. The best way to address it seems to be to focus on the upside. It has already been acknowledged here that there is increasing consumer awareness toward being green. All by itself this has yielded huge dividends to companies that have paid heed. Going green no longer has to always translate into paying a premium either. Being socially responsible also yields huge marketing dividends.
Then, of course, they're the companies that are laying the foundation for other companies to go green. Konica Minolta has been working on a new line of fabric dyes of extraordinary brilliance that are also environmentally (and human) friendly. This is no small thing. In the bad old days there were many dyes that were outright toxic. In struggling economies where dyeing cloth was done manually (and, of course, some of this still lingers) people simply worked as long and as hard as they could, and eventually died from contact with such chemicals. Without lingering too long on the fashion industry, just think of all the chemicals that go into leather (that, eventually, leech transdermally into the wearer).
Where companies can go green they do. It's moving beyond this low hanging fruit that the global community is now wrestling through. Ultimately, some more gains we make, the lower the cost, the easier it is to do and the better off we are. We are moving in the right direction.
Advertising: Illustration Graphics & Production
Our little example a moment ago with the clothing dyes certainly had analogy in this area. Actual cobalt is a real toxin, yet used to be powdered and mixed with the medium, exposing artists by breathing it in or exposure to the skin. Beyond significant examples such as this, there have always been issues with ventilation surrounding all the solvents.
Tremendous gains have been made on this front over the last half-century. However, we have now moved from an entirely organic paradigm (as faulted as aspects of it may have been) to now using a significant amount of synthetics.
That was a brief consideration from the design perspective. From the business perspective this is the aspect of the industry that does a tremendous amount of printing, and where packaging designed lives.
As regards printing, we have plenty of recycled paper product, and there are also “green” inks. There are even eco-friendly fonts! The issue here, of course, is how much of this can be translated into something the client will want (and be consistent with what they need).
When it comes to packaging design, the iconic mistake would be bottled water. Possibly dangerous from all the chemicals in the plastic leaching into the water. Beyond that, the packaging costs significantly more than its contents, and maybe around in landfills for generations so that someone would have refreshment across a brief period of time. And perhaps the saddest aspect is that most developed nations have perfectly good drinking water coming out of its faucets at hundreds of the cost.
Packaging has a purpose, and is not going away. Nonetheless, this is something that, by its very nature, will be discarded. There is an increasing effort afoot to make this experience is biodegradable as possible.
As you may have already noticed, the sustainability consideration tends to be about balancing a myriad of considerations. Keeping it in the forefront of your consciousness will certainly go a long way in your contribution being as environmentally friendly as it can be.
Saturday, November 6, 2010
supply chain in the applied arts
The idea of a supply chain in generic business terms is essentially the story of how a service, or more typically a product, moves from birth into the hands of the consumer. For example, in the case of a jeweler there may be an on the ground contact in Sri Lanka for raw rubies, sapphires and emeralds. There may or may not be an intermediary; anything large-scale or wholesale may find itself inclined to engage such an intermediary. The stone (or in this case, more often, the stones) makes its way into the hands of the jeweler, is cut, polished and set, and then offered for sale.
This is a very simplistic example, and it holds within it the significant movements of what supply chain is. Still, it is more than that. Is this a matter of import, or export, & if so, what are the trade agreements between the two countries, the tariffs and what will the taxes be (on both ends). Other paperwork involved classically includes due bills, bills of laden and most certainly insurance. Depending on what the supply chain is, and what it's for, may also engage considerations of infrastructure (planes, trains, trucks, ships) and warehousing. Since anywhere along such a chain each juncture could represent significant value/expense and/or a developed expertise, supply chain becomes an important part of the larger conversation that is management.
The implications for supply chain in the applied arts may be perceived as lower because of infrequency, yet the significance is not to be diminished. To be put in a position of temporary responsibility for historic garments, to research original footage from a century ago or to be part of an agency that is borrowing a folio of original Maxfield Parrish's are a few examples of having to send and receive the priceless. These examples and more reflect all the management expertise one would normally find in supply chain.
There is a secondary consideration that is more obvious, and that is what you may do as an individual (or even working for a small firm or agency). Being in the digital age, it's entirely possible that a significant amount of what you do may be transferred electronically. Indeed, you may find yourself collaborating with someone on the other side of the planet. At some point however, there is the likelihood that someone will need to see a print, a mockup, something. Color correction and proofing need to be established. Someone somewhere else may also need to have a copy. In these instances we are no longer talking about tariffs and trade, taxes and bills of laden, etc. However, we are talking about shipping, and if it is an object of value (beyond all the protective wrapping within the shipping packaging), at a minimum someone needs to assess insurance (and possibly security).
These are the considerations you would ordinarily need to be aware of when it comes to supply chain and the applied arts. However, a third example is when the term supply chain is used to illustrate aspects of a process, particularly when other individuals represent meaningful aspects within the process. This uses the concept of supply chain as a noun, each aspect being represented by its constituent part. Within your field you would be familiar with the professionals up and down such a chain within a larger vision. This example comes to us from an article on videogame design:
“ ‘The game industry actually produces products,’ Lashin-Curewitz states, ‘and as such, adds value to the economy through the creation of a supply chain, which in turn generates three to five jobs for each game-design position in the industry itself. This includes purchased and outsourced services in the allied computer programming, digital art, digital animation, writing, marketing, advertising and packaging industries.’
Pedone concurs with this assessment, and adds that the uses for video-game technology are more diverse than one would think at first glance.”
For our purposes we will focus on the verb aspect, the activity that supply chain ordinarily represents in business. In turn, alphabetically, here are a few examples you might confront within your field.
reference
Getting in the Game
Getting in the Game
Plans to Make the State a Leader in Video Game Design
Keen Hahn
Story Created: Sep 29, 2010 at 2:43 PM EDT
Story Updated: Sep 29, 2010 at 2:54 PM EDT
2010 Worcester Mag, a Holden Landmark Corporation publication
Friday, November 5, 2010
Marketing an Applied Visual Arts textbook in Indonesia
Abstract
The author is in negotiations to produce a business primer textbook specific to the applied arts (an outline appears in the Appendix). Given the evolution and inextricability of Globalization, the text intends to speak to global (as opposed to domestic) concerns, as a matter of course.
The easy target would be to market the textbook to all the art institutions in the US. However, a true test of the text would lie in its ready ability to be translated and adopted elsewhere.
Although the author is not part of the marketing arm of the publisher (nor presuming to tell them what to do), this document serves purely as an exercise of the text itself to explore some considerations exactly to that end, in Indonesia.
A combined back translation along with a blind parallel translation of the text would be ideal. Given that the Indonesian currency, the rupiah, has been trading in the 40s to the US dollar for more than a decade now, the cost of such extensive translation is easily justified. It is useful to note that the presumed publisher, AVA, is Swiss-based, with an English-language subsidiary in the UK, chiefly for translation purposes. It would be a small matter to engage a few other-language translators on a consulting basis.
Indonesia
Context & Consideration
If one were to market this textbook into Indonesia, the first natural audience would also be institutions of higher learning. A cursory look at the market yields more than 30 such institutions on the island of Java alone (a table appears in the Appendix). For the unacquainted, that should be read as staggering; there is no equivalent in the US. For balance, consider the entirety of the archipelago as likened metaphorically to a region in the US as one would have to concede, the island of Java is the downtown of the big city of that region. Nonetheless, these numbers bode well. This author's numbers place all institutions of higher learning for art in the US at a number just over 150. Conservatively, if one were to pad that number by 25% that still clocks in fewer than 200. Without being exhaustive of the other 17,000+ islands, one imagines that further research would reveal at least as many more institutions (and the thought remains that this is severely understated).
Among the cautions as regards the numbers of institutions is that approximately half of the 30 are not just applied arts schools, but specifically schools associated with fashion. Given approximately a dozen other arenas of applied arts, it remains currently possible that there would be handfuls of schools focusing in similar other direction, photography, animation, etc., not yet unearthed.
There may also be institutions just hanging on with a student or two. While this may be the case anywhere in the world, let us look at one of the institutions that indicates itself as a standard among the rest; the Indonesia Institute of the Arts (the ISI) in Yogyakarta. According to their site, they average a student population of 2500, one hundredths of which are foreign, with semester tuition cost of approximately $1000 US.
Given the cursory nature of the research (not definitive, yet a solid start) one can be cautiously confident that the market in Indonesia for such a textbook definitely exists. If only 1/10 of the students at the ISI purchased the textbook, that is 250 units. The next suggested step in this process would be to become more definitive about the database; if for no other reason but to support the on-ground marketing representative in saturating the market.
Phase 2
An easy conjecture is that if market research dollars were spent, we would find a healthier alternative market than one might in a Western country. This is predicated on a number of things: Indonesian literacy has been increasingly on the rise, technology remains limited relative to Western countries based on the current price tag and Indonesians are increasingly hungry to participate in the global economy (and the product is a business primer).
The preceding paragraph serves to introduce the second consideration for penetrating the Indonesian market. A marketing representative (of the right qualifications, demonstrated sales ability and a familiarity with the book trade), armed with all the research necessary would be able to penetrate at least the secondary education market, and possibly a significant amount of the book vendors as well. Please also note that the actual production for AVA occurs just across the Malacca Straits in Singapore. This already in place association might further inform the larger movement.
The marketing representative would almost have to be an Indonesian. "...To set up in Indonesia there are plenty of day-to-day challenges to keep you on your toes..." (New Zealand, Trade & Enterprise (Government of) , 2010). While no one wants to hear such cautionaries, it is smart at a minimum to be aware of the many layered, multicultural considerations that would otherwise burden on noncitizen with a nagging, constant mandate to translate everything. Again, given the thoughtful approach and the right research, the cost may easily be justified.
With Indonesia, as a significant aspect of the ASEAN (Associations of the organization of Southeast Asian Nations), and a significant Democratic presence in the region, such an opportunity becomes a great test market for entrée into the larger Asian market.
All the Rest
The reader may be inclined to view this document as something of a compromise vis-Ã -vis the larger conversation of marketing into a new country. The author recognizes that the implication of demographic has little effect, insofar as the overarching conversation for an Indonesian artisan student and an American artisan student is the global business nature of the art (which flattens the conversation, culturally). Indeed, the global approach to the business text consciously collapses the collateral material as well: posters for bookstores, bookmarks and the like. Beyond excellent translation, there should be no overt difference.
Among the challenges was to increase sales by 50%. However, taking this product into the Indonesian market increases sales by 100% (for a market that had not yet existed). Given the product does not exist yet, and would presumably be offered to an American audience first, comparatively speaking, there is no current way to have Indonesian sales constitute half of American sales. This is simply recognition of the generic comparative of supply-chain, as it exists in the US with almost anywhere else in the world.
The exercise that this document constitutes recognized such disparities going in. The embrace of Indonesia was pursued given the ability to justify other goals: a more Asian entrée to the Asian market (otherwise India is also attractive), the proximity to the subsidiary operations in Singapore, the democracy of the country and the attractive economic considerations (Australian School of Business UNSW , 2010) (Sauvin , 2010).
Conclusion(s)
The author is familiar enough, with both Indonesia, and marketing in general, to recognize that one could paint the larger conversation with the following broad-brush stroke: the cosmopolitan Indonesian that would be the market for such an item is, at essence, no different from his or her Western counterpart. What is different, however, while minor, needs noting nonetheless (the covert). These would be the subtle nuances of communication, negotiation, and day-to-day interaction generally. With a significant Chinese minority deeply embedded in the business class, with the largest Muslim population on the planet and Indians among the significant minorities, one finds a whole host of details that we simply need to honor. This would include paying attention to one's basic posture (not literally but figuratively) in human interaction. Also, the colors being used in communication, the kinds of visual matter that one needs to avoid and even the business card of the marketing representative (Anonymous, 2008)(“Executive Planet“, 2010)(Global Marketing Strategies, 1997-2010)(Hofstede, 2009)(House, R., Hanges, P.J., Javidan, M., Dorfman, P.W., & Gupta, V. , 2004)(Kwintessential Ltd, 2010)(World Business Culture, n.d.).
Approval for the textbook remains pending. Is this a presumption of a fantasy or an academic exercise; humbly submitted this offering is the latter. Nonetheless, if AVA were so inclined, Indonesia represents a cost-effective market and a potentially excellent entrée into Asia.
References
AVA Academia. (2010). http://www.avabooks.ch/
Anonymous (2008). Negotiating International Business - Italy. Global Negotiation Resources. Retrieved from http://www.globalnegotiationresources.com/
Arts Business Institute, (2009, Friday, April 3, 2009). Economic Importance of Art [Web log message]. Retrieved from http://artsbusinessinstitute.blogspot.com/
Australian School of Business UNSW . (2010, June 4, 2010). Marketing in Indonesia - challenges and opportunities ([under: News & Events]). Retrieved from Australian School of Business UNSW : http://www.asb.unsw.edu.au/newsevents/mediaroom/media/2010/april/Pages/marketingindonesia.aspx
Edwards, B. (1979). Drawing on the Right Side of the Brain (1st ed.). Los Angeles, CA: Jeremy Tarcher.
Executive Planet. (2010). Retrieved from http://www.executiveplanet.com/index.php?title=Main_Page
Friedman, T. (2005). The World Is Flat. New York: Farrar, Straus & Giroux .
Global Marketing Strategies. (1997-2010). Global Negotiator [[muscular collection to internal pages with developed information] http://www.globalnegotiator.com/]. Retrieved from : Global Marketing Strategies.
Hernández Requejo, W., & Graham, J. L. (2008 - 2010). . In Global Negotiation: The New Rules (p. ). Retrieved from http://www.globalnegotiationbook.com/
Hill, C. W. (2008). . In (Ed.), Global Business Today (5th ed, pp. 519-522). NY: McGraw Hill/Irwin.
Hofstede, G. (2009). Geert Hofstede™ Cultural Dimensions. Retrieved from http://www.geert-hofstede.com/
House, R., Hanges, P.J., Javidan, M., Dorfman, P.W., & Gupta, V. . (2004). Culture, Leadership, and Organizations-The GLOBE Study of 62 Societies. In Culture, Leadership, and Organizations-The GLOBE Study of 62 Societies. Thousand Oaks, CA 91320: Sage Publications.
Inglehart , R. (2009). [charts] [World Values Surveys]. Retrieved from http://www.worldvaluessurvey.org/wvs/articles/folder_published/article_base_54
International Labor Organization. (2008). Global Wage Report 2008/09 Towards policy coherence: Minimum wages and collective bargaining [9789221214991 (ISBN)]. Retrieved from http://www.ilo.org/global/What_we_do/Publications/ILOBookstore/Orderonline/Books/lang--en/docName--WCMS_097013/index.htm
Kim, W. C., & Mauborgne, R. (2005). Blue Ocean Strategy: How to create uncontested market spece and make the competition irrelevant. Boston, MA: Harvard Business School Publishing.
Kwintessential Ltd. (2010). Language, Culture, Customs and Etiquette - Japan - Language, Culture, Customs and Etiquette - Sweden. Retrieved September 25, 2010, from http://www.kwintessential.co.uk/resources/global-etiquette/
Nazief, B., Ph.D. ((between 1999 + 2010)). Development of Computational Linguistics Research: a Challenge for Indonesia (Doctoral dissertation, University of Indonesia, Jakarta). Retrieved from http://www.google.com/url?sa=t&source=web&cd=1&sqi=2&ved=0CBMQFjAA&url=http%3A%2F%2Fwww.ldc.upenn.edu%2Facl%2FP%2FP00%2FP00-1075.pdf&rct=j&q=research%20challenge%20indonesia&ei=X6vRTJr4Csys8Ab72KTHDA&usg=AFQjCNGnS-LjzjBu7FhuvGgozB1hGHJ-2A&sig2=xP8728Cakuj10TM2Opss3g
New Zealand, Trade & Enterprise (Government of) . (2010). Doing business in Indonesia. Retrieved from New Zealand Trade and Enterprise: http://www.nzte.govt.nz/explore-export-markets/south-and-southeast-asia/doing-business-in-indonesia/Pages/Doing-business-in-Indonesia.aspx
Peng, M. W. (2009). . In Global Business ( pp. 442-444). Mason, OH: Southwestern Cengage Learning.
Sauvin , S. (2010, October 1, 2010). Print advertising up 20% in Indonesia. snfblog.com. Retrieved from http://www.sfnblog.com/advertising/2010/10/indonesian_newspapers_continue_reliance.php
Singapore Economic Development Board. (2009). . Retrieved from http://www.edb.gov.sg/edb/sg/en_uk/index.html
World Business Culture. (n.d.). American Management Style, South Korean Management Style and Japanese Management Style (respectively). Retrieved Sept. 18, 2010, from http://www.worldbusinessculture.com/South-Korea-Management-Style.html; http://www.worldbusinessculture.com/Japanese-Management-Style.html; http://www.worldbusinessculture.com/American-Management-Style.html
Thursday, November 4, 2010
Art Schools in Indonesia
This is prep (and may become appendix) to some research. This is not definitive, yet a decent beginning. As the document is organic, this start includes all art schools that I can find (including fine art and craft). Half the list is known to be applied arts, as the back half is exclusively fashion design schools.
ISI, Indonesia Institute of the Arts, Academic Administration Building. Jl. Parang Tritis Km 6.5 Yogyakarta Java 62 – 274 – 371233, 379133
Jaya Suprana School of Performing Arts Lower Ground / A2 Mall Of Indonesia Jakarta Java 45868303
Tomato Art School Panglima Polim Raya, Ruko Grand Panglima Polim Kav. 32-33 Kebayoran Baru Jakarta Java
Archipelago Art Education Institute Rice Brief PT.Lunto 65 Jakarta Java
Global Art Indonesia Bandung NA-18 Jakarta Java
Blueberries Dcraft Center Kemang SLT VIII 51-C Jakarta Java
Anom Temple Painting Studio Penanggungan 65 Surabaya Java
Global Art Cengkareng Daan Jimbaran Kompl New Mogot Bl 1-A/3-A Jakarta Java
Hobby Art & Craft Studio Pandanaran 119 Semarang Java
Institutions Ruseru Ontoseno 6 RT 009/02 Yogyakarta Java
Gibrah Art Studio Pasar Waru 53 Surabaya Java
Elino Kompl Pamulang Permai I Bl A-32 / 1 Jakarta Java
Alpha Abacus Indonesia Boulevard Raya Bl BA-3/39 Tangerang Java
Global Art Indonesia Ruko Bumi Serpong Damai Tangerang Sktr Bl 1-2 RD-2 / 3 Tangerang Java
Academy of Art Mangku Nagaran RM Said 111 Solo Java
Dolling School of Fashion Design di Medan
Kursus Fashion Design, Sulam, Dll. Prapat no.44/2 Parapat (Medan) Sumatra (061) 451 7364, 452 0731
Esmod Jakarta Jl. Asem II no. 3 – 5 Cipete, Jakarta Selatan 12410 Jakarta Java (62-21) 7659181-82, 7659089 http://www.esmodjakarta.com Fax. (62-21) 7657517
Email : marketing@esmodjakarta.com
LaSalle College International Jakarta Sahid Office Boutique (Unit D – F)
Jl. Jend. Sudirman Kav 86 Jakarta Java (021) 5785 1819 http://www.lasallecollege.ac.id Fax (021) 5785 1820
Email : infojkt@lasallecollege.ac.id
*Sebagian pelajaran pengantarnya bahasa Inggris.
LPTB Susan Budihardjo Jl. Cikini No. 58 FF – GG Jakarta Java (021) 314 0575 Fax. (021) 323 526
Bunka School of Fashion Jl. Pembangunan III/14C Jakarta Java (021) 633-5759 http://bunkaschooloffashion.com/ Fax 021-6343645
Phalie Studio Jl. Gading Indah Raya, Blok C21
Kelapa Gading Jakarta
14240 Java (021) 9298 3700/ 7168 1045 http://phaliestudio.wordpress.com/
Indonesia International Fashion Institute (IIFI) – sekarang Plaza 5 Pondok Indah Blok B-9.
Jl. Margaguna, Kebayoran Baru. Jakarta Selatan 12130 Java (021) 727 88701-03 Fax : (021) 727 88689
Email : iifi@centrin.net.id
Sekolah Tinggi Desain Interstudi
Kampus STDI Jl. Kapten Tendean No.2, Kebayoran Baru, Jakarta Selatan Jakarta Java (021) 71793985 http://stdi.interstudi.edu Fax. (021) 71790477
Lembaga Kursus Tata Busana Wiwi
Berbasis kompetensi DepDikBud
Izin resmi DepDikNas, Berijazah Negara Jl. KH.Agus Salim No 30 / 8
Jakarta Pusat 10340 Java ( 62-21) 3102936, 392 1978, http://www.wiwicouture.com
http://wiwicouture.blogspot.com Fax : ( 62-21 ) 3192 7651
Email : clard@dnet.net.id
IKKIS SEKOLAH PRIVAT MODE & TEHNIK MENJAHIT BUSANA HALUS Jl. Mampang Prapatan XVIII No.102,
Komplek Keuangan, Duren Tiga,
Pancoran, Jakarta Selatan, 12760 Java 021 – 7984794 / 7983506 http://www.ikkis.net/ Mobile : 08158885441
E-mail : info@ikkis.net
Sekolah Tinggi Seni Indonesia (STSI) Jl. Buah Batu no. 212, Bandung – 40265 Java 022-7314982, 7394532 http://www.stsi-bdg.ac.id/
Sekolah Tinggi Seni Rupa & Desain Indonesia (STISI) Jl. Soekarno-Hatta 581 Bandung 40275 Java (022) 7306211 http://www.stisi.ac.id Fax : (022) 7306228,
m : 081322852228
Arva School of Fashion Sambas No.16 Surabaya Java 031 – 5672537 http://www.arvaschooloffashion.com Email : info@arvaschooloffashion.com
Institution address city island phone website notes
ISI, Indonesia Institute of the Arts, Academic Administration Building. Jl. Parang Tritis Km 6.5 Yogyakarta Java 62 – 274 – 371233, 379133
Jaya Suprana School of Performing Arts Lower Ground / A2 Mall Of Indonesia Jakarta Java 45868303
Tomato Art School Panglima Polim Raya, Ruko Grand Panglima Polim Kav. 32-33 Kebayoran Baru Jakarta Java
Archipelago Art Education Institute Rice Brief PT.Lunto 65 Jakarta Java
Global Art Indonesia Bandung NA-18 Jakarta Java
Blueberries Dcraft Center Kemang SLT VIII 51-C Jakarta Java
Anom Temple Painting Studio Penanggungan 65 Surabaya Java
Global Art Cengkareng Daan Jimbaran Kompl New Mogot Bl 1-A/3-A Jakarta Java
Hobby Art & Craft Studio Pandanaran 119 Semarang Java
Institutions Ruseru Ontoseno 6 RT 009/02 Yogyakarta Java
Gibrah Art Studio Pasar Waru 53 Surabaya Java
Elino Kompl Pamulang Permai I Bl A-32 / 1 Jakarta Java
Alpha Abacus Indonesia Boulevard Raya Bl BA-3/39 Tangerang Java
Global Art Indonesia Ruko Bumi Serpong Damai Tangerang Sktr Bl 1-2 RD-2 / 3 Tangerang Java
Academy of Art Mangku Nagaran RM Said 111 Solo Java
Fashion (just fashion schools)
Dolling School of Fashion Design di Medan
Kursus Fashion Design, Sulam, Dll. Prapat no.44/2 Parapat (Medan) Sumatra (061) 451 7364, 452 0731
Esmod Jakarta Jl. Asem II no. 3 – 5 Cipete, Jakarta Selatan 12410 Jakarta Java (62-21) 7659181-82, 7659089 http://www.esmodjakarta.com Fax. (62-21) 7657517
Email : marketing@esmodjakarta.com
LaSalle College International Jakarta Sahid Office Boutique (Unit D – F)
Jl. Jend. Sudirman Kav 86 Jakarta Java (021) 5785 1819 http://www.lasallecollege.ac.id Fax (021) 5785 1820
Email : infojkt@lasallecollege.ac.id
*Sebagian pelajaran pengantarnya bahasa Inggris.
LPTB Susan Budihardjo Jl. Cikini No. 58 FF – GG Jakarta Java (021) 314 0575 Fax. (021) 323 526
Bunka School of Fashion Jl. Pembangunan III/14C Jakarta Java (021) 633-5759 http://bunkaschooloffashion.com/ Fax 021-6343645
Phalie Studio Jl. Gading Indah Raya, Blok C21
Kelapa Gading Jakarta
14240 Java (021) 9298 3700/ 7168 1045 http://phaliestudio.wordpress.com/
Indonesia International Fashion Institute (IIFI) – sekarang Plaza 5 Pondok Indah Blok B-9.
Jl. Margaguna, Kebayoran Baru. Jakarta Selatan 12130 Java (021) 727 88701-03 Fax : (021) 727 88689
Email : iifi@centrin.net.id
Sekolah Tinggi Desain Interstudi
Kampus STDI Jl. Kapten Tendean No.2, Kebayoran Baru, Jakarta Selatan Jakarta Java (021) 71793985 http://stdi.interstudi.edu Fax. (021) 71790477
Lembaga Kursus Tata Busana Wiwi
Berbasis kompetensi DepDikBud
Izin resmi DepDikNas, Berijazah Negara Jl. KH.Agus Salim No 30 / 8
Jakarta Pusat 10340 Java ( 62-21) 3102936, 392 1978, http://www.wiwicouture.com
http://wiwicouture.blogspot.com Fax : ( 62-21 ) 3192 7651
Email : clard@dnet.net.id
IKKIS SEKOLAH PRIVAT MODE & TEHNIK MENJAHIT BUSANA HALUS Jl. Mampang Prapatan XVIII No.102,
Komplek Keuangan, Duren Tiga,
Pancoran, Jakarta Selatan, 12760 Java 021 – 7984794 / 7983506 http://www.ikkis.net/ Mobile : 08158885441
E-mail : info@ikkis.net
Sekolah Tinggi Seni Indonesia (STSI) Jl. Buah Batu no. 212, Bandung – 40265 Java 022-7314982, 7394532 http://www.stsi-bdg.ac.id/
Sekolah Tinggi Seni Rupa & Desain Indonesia (STISI) Jl. Soekarno-Hatta 581 Bandung 40275 Java (022) 7306211 http://www.stisi.ac.id Fax : (022) 7306228,
m : 081322852228
Arva School of Fashion Sambas No.16 Surabaya Java 031 – 5672537 http://www.arvaschooloffashion.com Email : info@arvaschooloffashion.com
Sources:
2010 Streetdirectory Indonesia
Panpages
2010, Ministry of Culture and Tourism, Republic of Indonesia
deCyno
2010
Joglosemar
1998
Wednesday, November 3, 2010
Tuesday, November 2, 2010
Marketing IKEA Indonesia
Abstract
This is a critique of the Marketing strategy for IKEA in Indonesia. Fortunately, said plan was recently published, and therefore is readily available for a direct assessment.
IKEA in Indonesia
Brief background
Ingvar Kamprad Elmtaryd Agunnaryd (IKEA) is so named after the founder (Ingvar Kamprad), the farm he grew up on (Elmtaryd) and the Parrish it was located in (Agunnaryd). The organization is widely established globally, however, until recently it had targeted developed nations. IKEA is a privately held in trust.
Critique of the Plan
Core Marketing/Business
Early on, the marketing plan (Please view the actual Marketing Plan. The URL is in the reference section) cites a particular strength for the IKEA furnishings line, their relatively low price. However, the deeper we go into the marketing plan, the more we realize that they are aware that their prices may not be low enough to reach the lowest classes. Key elements that are missed include that IKEA's value also lies in its generic, spare style, its conscious use of space in particular and the ability to build it yourself. Chiefly due to this marketing plan being constructed almost entirely on secondary data, the secondary data errors pepper the entire marketing plan.
The document acknowledges the current Indonesian growth rate, yet does not celebrate it. Note that 6.1% growth is rather healthy today.
The marketing plan is correct to delve into a consideration of infrastructure. However, the infrastructure that IKEA is lamenting is the familiar (European style) infrastructure. The truth of the matter is, for this country and this culture, the infrastructure is relatively muscular. Inadequate compared to most developing countries, but Indonesia must have somewhere in the neighborhood of 50 times the waterways, most urban areas (where they plan to settle) have at least base roads.
The marketing plan is equally correct in acknowledging the legal and ethical considerations on the ground. Again, everything is relative and overlooked again is this relativism. Corruption and IP law may be concerns, and should not be worries, for this is no more than most of Asia.
Then the marketing plan moves in the direction of quickly over viewing the demographic, and does so very sweepingly using the operative word diverse. From rainforest tribes to cosmopolitans, there is no question of such diversity among the people. However, in targeting only urban settings (and even the contemplation of suburban settings), this conversation would be more appropriate if one were looking to market a government agency, not a big box retail opportunity. IKEA's demographic is consistent with where they are locating.
Again, IKEA would do well to get on the ground first. This challenge of perspective persists even when contextualizing itself with competition. It is noteworthy that the majority of furnishing retailers still resides with smaller players. Much like the GDP mentioned earlier, this mention is so fleeting that one wonders if the new president and CEO Mikael Ohlsson can appreciate the full gravity of the opportunity. To underscore, this supposition of a plan continues to lean on what it does know, comparing itself to Carrefour, among others. These major otherwise focused box stores (Carrefour is analogous to WalMart in Europe) sometimes focus on groceries, etc. Despite their specialty, IKEA could go toe to toe if they so chose. Often IKEA has a food court and/or dining space. Is that the trend, to enter the Carrefour/WalMart arena? The recommendation would caution against such thoughts, at least in the initial entry phase to Indonesia.
The People
As we begin to speak of the Indonesians themselves, IKEA has fed itself some misinformation. Because Indonesians support artisans, the conclusion is that the population would not embrace do-it-yourself projects. Indonesians would embrace DIY activities, for the sake of it, as they love to express accomplishment (a very proud people). DIY is simply a concept that no one has consciously promoted yet! What a lost opportunity!
The ability to laser cut intricate lacework patterns could emulate a vast array of native furniture carving. The wealth of native fabric patterns (batik and the like) become another easy add (and an opportunity for strategic alliances on the ground).
The statement was made: “Showrooms should be designed and arranged in Indonesian style…”. It is unclear what this means. The floor plan for IKEA in Tampa would be perfect for Indonesians (who, as already indicated elsewhere in the marketing plan, and rightly so, see shopping as a weekend family entertainment).
Country specific
Toward the end of the document, the idea is floated of a secondary presence on Java. Expanding on Java would be cautioned against until after enough other major cities have been established. There is a saturation factor that is overlooked ... people on the furthest end of Java will use the Jakarta location just fine, and indefinitely. This expansion notion comes excessively soon.
Completely ignored is Sumatra Island, the fourth largest Island in the world. The capital city, Medan, in the north, is a substantial city directly affecting the top half of the island. Medan is the closest significant city to the city-state of Singapore, strategically less than an hour away by puddle jumper, just across the Malacca Straits. More strategic rationale would include Medan's proximity to Padang and Kuala Lumpur, Malaysia. The stain of secondary data persists. To cite cities such as Surabaya and Bandung, and then complain about infrastructure, would be disingenuous were it not for the innocent lack of research that is so evident.
Sumatra or not, establish small store presence in every major city first, and let the cities development of sales dictate where to expand next.
Miscellany
Do the local’s one better and accentuate IKEA's green stance - shout it out that the corporation seeks to support - not rape - the rainforest hardwoods.
Conclusion
Numerous pros and cons find themselves missed in IKEA’s marketing plan. With an eye toward a relatively collectivistic culture, aspects of IKEA’s spare look can communicate, and Indonesians would easily celebrate IKEA’s mastery of use of space.
In the metropolitan areas, the demographic is more consistent with what IKEA is accustomed to than they realize. Upper middle class and above will continue to favor the deeply carved exotic hardwoods that are the heirloom staple. The cost differential is more than made up for in the quality and longevity (and the magnificent artistry) of the native item. IKEA’s presumption disfavors the Indonesians buying acumen, and they will find their market will actually reach into the middle lower class.
There is no doubt the research being secondary has denied IKEA the wisdom being on the ground would have given them. Someone needs to forward them this document! The assessment is that much of the plan is solid, though could be rated at 75%.
References
Hartung, A. (2010, Nov. 1 2010). Growth - Dealing with Market ShiftsCould Something Go - Badly for Ikea and Its New CEO?. Forbes. Retrieved from http://blogs.forbes.com/adamhartung/2010/11/01/could-something-go-badly-for-ikea-and-its-new-ceo/?boxes=Homepagechannels
Ingvar Kamprad Elmtaryd Agunnaryd . (2009). Strategic Marketing Plan 2009, IKEA Expansion toIndonesia ((pdf) Marketing Plan). Retrieved from (publicly published internal information): http://www.google.com/url?sa=t&source=web&cd=3&sqi=2&ved=0CCQQFjAC&url=http%3A%2F%2Fherdianti.com%2FIKEA_in_Indonesia_files%2FHerdiantiW-IKEAExpansiontoIndonesia-StrategicMarketingPlan.pdf&rct=j&q=IKEA%20Indonesia&ei=8tnKTIXoMML68AbMutTtAQ&usg=AFQjCNES4FE00IJbyD5z4v79le_uf68QiQ&sig2=ssmgjPlP9LX5f5fbjFAcIg
Monday, November 1, 2010
Positions for the Applied Arts (revised 10) (Digital) Film
Entry Level
Production Assistant
Excellent communication skills
Highly motivated
Strong creative ability
Comfortable sharing ideas with crew; teamwork
Adept to rapidly changing technologies
AVID/ Final Cut Pro, other non-linear software
After Effects/Premiere
Beta/DV/DVC Pro/DV Cam
Assistant Editor
Excellent communication skills
Highly motivated
Able to take direction and work independently
Observe strict deadlines
Strong attention to detail
AVID
Final Cut Pro/Pro Tools
Deadline oriented
Lighting Assistant/Gaffer
Artistic ability relating to color/light
Accurate and detail oriented
Able to take directions
Camera Operator
Good eyesight and hand-eye coordination
Steady hand/arm movement
Able to hold camera for extended periods of time
Good communication skills
Beta SP/Panasonic DV/DVC Pro/other camcorders
Multicamera production/crew relations
Ability to take creative direction
Tape Librarian/Dubber
Strong attention to detail
Good communication skills
Understanding of customer service
Patient and accurate
Beta/AVID/Final Cut Pro
Master Control Operator
Adept to rapidly changing technologies
Able to take direction and work independently
Attention to detail and accuracy
Good communication skills
Electronic news gathering/multicamera production
Deadline oriented
Traffic Assistant
Detail/deadline oriented
Good communication/phone skills
Good computer skills
Mid-Career
Studio Director
Producer
Assignment Editor
Technical Director
Field Videographer
Camera Operator
Producer
Technical Director
Traffic Coordinator
Pinnacle
Production Manager
Program Director
Editor
Senior Editor
Director of Photography
Field Supervisor
Director of Photography
Field Supervisor
Senior Editor
Production Assistant
Excellent communication skills
Highly motivated
Strong creative ability
Comfortable sharing ideas with crew; teamwork
Adept to rapidly changing technologies
AVID/ Final Cut Pro, other non-linear software
After Effects/Premiere
Beta/DV/DVC Pro/DV Cam
Assistant Editor
Excellent communication skills
Highly motivated
Able to take direction and work independently
Observe strict deadlines
Strong attention to detail
AVID
Final Cut Pro/Pro Tools
Deadline oriented
Lighting Assistant/Gaffer
Artistic ability relating to color/light
Accurate and detail oriented
Able to take directions
Camera Operator
Good eyesight and hand-eye coordination
Steady hand/arm movement
Able to hold camera for extended periods of time
Good communication skills
Beta SP/Panasonic DV/DVC Pro/other camcorders
Multicamera production/crew relations
Ability to take creative direction
Tape Librarian/Dubber
Strong attention to detail
Good communication skills
Understanding of customer service
Patient and accurate
Beta/AVID/Final Cut Pro
Master Control Operator
Adept to rapidly changing technologies
Able to take direction and work independently
Attention to detail and accuracy
Good communication skills
Electronic news gathering/multicamera production
Deadline oriented
Traffic Assistant
Detail/deadline oriented
Good communication/phone skills
Good computer skills
Mid-Career
Studio Director
Producer
Assignment Editor
Technical Director
Field Videographer
Camera Operator
Producer
Technical Director
Traffic Coordinator
Pinnacle
Production Manager
Program Director
Editor
Senior Editor
Director of Photography
Field Supervisor
Director of Photography
Field Supervisor
Senior Editor
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