Yet at the same time that our society represses killing, a new obsession with the depiction of killing within the Western way of war and of the psychological and . A controversial psychological examination of how soldiers' willingness to kill has been encouraged and exploited to the detriment of contemporary civilian. SQL Server. Integration Services. (SSIS) – Step by Step. Tutorial. A Free SSIS eBook from SQL Server Integration Ser How to kill, Spy & Other Survival Skills .
|Language:||English, Portuguese, French|
|Genre:||Politics & Laws|
|ePub File Size:||17.77 MB|
|PDF File Size:||16.85 MB|
|Distribution:||Free* [*Registration needed]|
The good news is that most soldiers are loath to kill. But armies have developed sophisticated ways of overcoming this instinctive aversion. And contemporary. PDF On Killing: The Psychological Cost of Learning to Kill in War and Society The twentieth century, with its bloody world wars, revolutions, and genocides. Cover design: Kordula Röckenhaus, Bielefeld. Proof-reading & typesetting: Judith Mengler. Printed in Germany. Print-ISBN PDF-ISBN.
This will help them sustain their passion for the work. 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.
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 flourishes.
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 redefined fiction. To be creative, an idea must also be appropriate—useful and actionable.
It must somehow influence 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. But creativity can benefit every function of an organization.
Think of activity-based accounting. It was an invention—an accounting invention—and its impact on business 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 scientifically as well as all the knowledge and technical abilities that she has in the fields of medicine, chemistry, biology, and biochemistry.
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 fields. For example, she might look to botany to help find 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 difficult problem.
Indeed, plodding through long dry spells of tedious experimentation increases the probability of truly creative breakthroughs. 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. 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. Extrinsic motivation comes from outside a person—whether the motivation is a carrot or a stick. 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 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.
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 extrinsic motivation, will indeed get him out of the maze. But the solution that arises from the process is likely to be unimaginative. Another person might have a different approach to the maze. She might actually find the process of wandering around 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 finally does find 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.
The most successful scientists often are not the most talented, but the ones who are just impelled by curiosity.
What Is Business Creativity?
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. Managing Creativity Managers can influence all three components of creativity: expertise, creative-thinking skills, and motivation.
But the fact is that the first two are more difficult and time consuming to influence than motivation. And training in brainstorming, 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. 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 specifically, 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 definitively 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 appeared repeatedly in the successful creativity stories and, conversely, in those that were unsuccessful. Our research has also been bolstered by a quantitative survey instrument called KEYS.
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. Of all the things managers can do to stimulate creativity, perhaps the most efficacious 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.
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 difficult and time consuming to gather. 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.
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. But they should understand that inclusion in those discussions will not necessarily enhance creative output and certainly will not be sufficient 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 difficult, 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 define them clearly.
And second, some managers fall short on this dimension by granting autonomy in name only. Employees diverge at their own risk.
Read the full United Nations report on the killing of Jamal Khashoggi
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. Deciding how much time and money to give to a team or project is a 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 unfulfilled—which invariably damages motivation.
Moreover, creativity often 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 fit. 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. Below that threshold, however, a restriction of resources can dampen creativity. They keep resources tight, which pushes people to channel their creativity into finding 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 offices. 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. 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. Second, members must display a willingness to help their teammates through difficult 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 knowledge 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 difficult, 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. 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 find 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. Someone who can walk into the heart of darkness, into the universal human phobia, and walk out unscathed Let me expand on this old soldier's excellent model of the sheep, wolves, and sheepdogs.
We know that the sheep live in denial, that is what makes them sheep. They do not want to believe that there is evil in the world. They can accept the fact that fires can happen, which is why they want fire extinguishers, fire sprinklers, fire alarms and fire exits throughout their kids' schools. But many of them are outraged at the idea of putting an armed police officer in their kid's school. Our children are thousands of times more likely to be killed or seriously injured by school violence than fire, but the sheep's only response to the possibility of violence is denial.
The idea of someone coming to kill or harm their child is just too hard, and so they chose the path of denial. The sheep generally do not like the sheepdog. He looks a lot like the wolf.
He has fangs and the capacity for violence. The difference, though, is that the sheepdog must not, can not and will not ever harm the sheep. Any sheep dog who intentionally harms the lowliest little lamb will be punished and removed. The world cannot work any other way, at least not in a representative democracy or a republic such as ours. Still, the sheepdog disturbs the sheep. He is a constant reminder that there are wolves in the land. They would prefer that he didn't tell them where to go, or give them traffic tickets, or stand at the ready in our airports in camouflage fatigues holding an M The sheep would much rather have the sheepdog cash in his fangs, spray paint himself white, and go, "Baa.
Then the entire flock tries desperately to hide behind one lonely sheepdog. The students, the victims, at Columbine High School were big, tough high school students, and under ordinary circumstances they would not have had the time of day for a police officer. They were not bad kids; they just had nothing to say to a cop. When the school was under attack, however, and SWAT teams were clearing the rooms and hallways, the officers had to physically peel those clinging, sobbing kids off of them.
This is how the little lambs feel about their sheepdog when the wolf is at the door.
Look at what happened after September 11, when the wolf pounded hard on the door. Remember how America, more than ever before, felt differently about their law enforcement officers and military personnel? Remember how many times you heard the word hero? Understand that there is nothing morally superior about being a sheepdog; it is just what you choose to be.
Also understand that a sheepdog is a funny critter: He is always sniffing around out on the perimeter, checking the breeze, barking at things that go bump in the night, and yearning for a righteous battle. That is, the young sheepdogs yearn for a righteous battle.
The old sheepdogs are a little older and wiser, but they move to the sound of the guns when needed right along with the young ones. Here is how the sheep and the sheepdog think differently. The sheep pretend the wolf will never come, but the sheepdog lives for that day. After the attacks on September 11, , most of the sheep, that is, most citizens in America said, "Thank God I wasn't on one of those planes. Maybe I could have made a difference. You want to be able to make a difference.
There is nothing morally superior about the sheepdog, the warrior, but he does have one real advantage. Only one. And that is that he is able to survive and thrive in an environment that destroys 98 percent of the population. There was research conducted a few years ago with individuals convicted of violent crimes. These cons were in prison for serious, predatory crimes of violence: assaults, murders and killing law enforcement officers. The vast majority said that they specifically targeted victims by body language: slumped walk, passive behavior and lack of awareness.
They chose their victims like big cats do in Africa, when they select one out of the herd that is least able to protect itself.
Some people may be destined to be sheep and others might be genetically primed to be wolves or sheepdogs. But I believe that most people can choose which one they want to be, and I'm proud to say that more and more Americans are choosing to become sheepdogs. Todd, as you recall, was the man on Flight 93 over Pennsylvania who called on his cell phone to alert an operator from United Airlines about the hijacking. When he learned of the other three passenger planes that had been used as weapons, Todd dropped his phone and uttered the words, "Let's roll," which authorities believe was a signal to the other passengers to confront the terrorist hijackers.
In one hour, a transformation occurred among the passengers - athletes, business people and parents. There is no safety for honest men except by believing all possible evil of evil men.
In nature the sheep, real sheep, are born as sheep. Sheepdogs are born that way, and so are wolves. They didn't have a choice. But you are not a critter. As a human being, you can be whatever you want to be.
It is a conscious, moral decision. If you want to be a sheep, then you can be a sheep and that is okay, but you must understand the price you pay.
When the wolf comes, you and your loved ones are going to die if there is not a sheepdog there to protect you. If you want to be a wolf, you can be one, but the sheepdogs are going to hunt you down and you will never have rest, safety, trust or love. But if you want to be a sheepdog and walk the warrior's path, then you must make a conscious and moral decision every day to dedicate, equip and prepare yourself to thrive in that toxic, corrosive moment when the wolf comes knocking at the door.
For example, many officers carry their weapons in church.? They are well concealed in ankle holsters, shoulder holsters or inside-the-belt holsters tucked into the small of their backs.?
Anytime you go to some form of religious service, there is a very good chance that a police officer in your congregation is carrying. You will never know if there is such an individual in your place of worship, until the wolf appears to massacre you and your loved ones.From sacrifice to the slaughterhouse: Ancient and modern approaches to meat, animals, and civilization.
Police officers, soldiers, and other warriors are like that shell, and someday the civilization they protect will grow into something wonderful.? Indeed, thinking imaginatively is one part of creativity, but two others are also essential: expertise and motivation. Understand that there is nothing morally superior about being a sheepdog; it is just what you choose to be. Health, ethics and environment: A qualitative study of vegetarian motivations.
In meat we trust. The connection to intrinsic motivation here is clear. When the wolf comes, you and your loved ones are going to die if there is not a sheepdog there to protect you.
When the school was under attack, however, and SWAT teams were clearing the rooms and hallways, the officers had to physically peel those clinging, sobbing kids off of them. Grossman went through it with me.