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CROSS CULTURAL
NEGOTIATION
How to be a responsive node
in the network
வினைவலியும் தன்வலியும் மாற்றான் வலியும்
துனைவலியும் தூக்கிச் செயல்
“Assess strength of own action-consequence, own remaining strengths, support
strengths, and the same of the others and act”
A. KNOWING SELF & OTHERS: JOHARI
WINDOWS
B. NEVER SAY THE OTHER IS NOT OK…
THOMAS HARRIS
C. BE AN ADULT, TREAT OTHERS AS
ADULTS
D. MAINTAIN A FAIR BALANCE OF CORE &
FLEX
B. HAVE A WORKING FORMULA TO WORK
WITH OTHERS…
E. HAVE CULTURAL COMPETENCE
Let
CHs
Go
For
CU
& IC
Being in communion with the other
is the crux of cultural competence,
for that we may have to challenge
our shared history & personalized
F. DEVELOP DESIGN THINKING HABITS
Design thinking refers to the cognitive, strategic
and practical processes by which design concepts
empathy allows design thinkers to set aside their own
assumptions about the world in order to gain insight into users
and their needs.
Putting together the information you have created and
gathered during the Empathise stage
Brainstorm
Brainwrite,
Worst Possible
Idea, and
SCAMPER.
identify new solutions to the problem statement you’ve created, and you can
start to look for alternative ways of viewing the problem
SCAMPER?
Substitute
Combine
Adapt
Modify (Also Magnify and Minify)
Put to another use
Eliminate
Reverse
identify the best possible solution for each of the
problems identified during the first three stages
rigorously test the complete product using the best
solutions identified during the prototyping phase.
G. CULTIVATE PARALLEL THINKING
Traditional thinking is concerned
with search and discovery;
parallel thinking is concerned
with design and creation.
Sequential thinking demands
certainty and absolutes.
Parallel thinking, as we shall
see later, does not.
allow the contradictory views
to exist in parallel and then
to design a way forward.
In contrast to the great readiness of
traditional thinking to throw out one side of
the contradiction, in the design process we
seek to extract maximum value from both
sides of any contradiction.
Having to be correct at
every step makes creativity
virtually impossible.
If you believe that action springs directly
from 'what is' then you are not concerned
with the design of action. If you believe that
'what can be' has to be designed then you
apply the design process to action itself.
• Go to p 120
PRINCIPLES OF DESIGN
•Go to P.123
It is the concept through which
we perceive the information
that gives it any value.
The analysis of information will
allow us to select an idea from
our repertoire of standard ideas
but not to find a new idea.
Parallel thinking is action-
oriented.We move from
possibilities to the direct
design of action.
It is not enough to judge.You
cannot grow a garden just by
wielding the shears.You do have
to plant things from time to time.
Values are determined
by systems, contexts and
circumstances.
In traditional adversarial thinking the
justification for each statement is
sought when that statement is made. In
parallel thinking, any 'possibility' is
accepted as such.
We cannot thrive on judgement
alone. Judgement may just be
enough to resist change but not
enough to benefit from change.
At its most powerful a belief is a
perception that forces us to look
at the world in such a way that
the perception is validated.
The brain works directly with fuzzy overlap.
Activity in one region sensitizes other regions.
The excellence of the brain does not arise
from its organization as a filing system of
discrete pigeonholes but from its organization
as a system of multiple overlaps.
Wisdom is a way of thinking,
not just an accumulation of
experience.
It is in the inner world of perception
that we run our thought experiments,
which may look forward into the
future or backwards into the past.
SIX HATS THINKING!
INFORMATION
EMOTIONS
CREATIVITY
Creativity involves a willingness to
challenge, a willingness to take risks, a
willingness to be provocative, and a
willingness to step outside the judgements
that are a summary of past experience.
BENEFITS
The intention is that from the 'field'
enriched with parallel possibilities
an outcome will 'organize itself' or
be consciously 'designed'.
In parallel thinking,
contradictions are fully
accepted.

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Cross cultural negotiation and parallel thinking

  • 1. CROSS CULTURAL NEGOTIATION How to be a responsive node in the network
  • 2. வினைவலியும் தன்வலியும் மாற்றான் வலியும் துனைவலியும் தூக்கிச் செயல் “Assess strength of own action-consequence, own remaining strengths, support strengths, and the same of the others and act”
  • 3. A. KNOWING SELF & OTHERS: JOHARI WINDOWS
  • 4. B. NEVER SAY THE OTHER IS NOT OK… THOMAS HARRIS
  • 5. C. BE AN ADULT, TREAT OTHERS AS ADULTS
  • 6. D. MAINTAIN A FAIR BALANCE OF CORE & FLEX
  • 7. B. HAVE A WORKING FORMULA TO WORK WITH OTHERS…
  • 8. E. HAVE CULTURAL COMPETENCE Let CHs Go For CU & IC Being in communion with the other is the crux of cultural competence, for that we may have to challenge our shared history & personalized
  • 9. F. DEVELOP DESIGN THINKING HABITS Design thinking refers to the cognitive, strategic and practical processes by which design concepts
  • 10. empathy allows design thinkers to set aside their own assumptions about the world in order to gain insight into users and their needs.
  • 11. Putting together the information you have created and gathered during the Empathise stage
  • 12. Brainstorm Brainwrite, Worst Possible Idea, and SCAMPER. identify new solutions to the problem statement you’ve created, and you can start to look for alternative ways of viewing the problem
  • 13. SCAMPER? Substitute Combine Adapt Modify (Also Magnify and Minify) Put to another use Eliminate Reverse
  • 14. identify the best possible solution for each of the problems identified during the first three stages
  • 15. rigorously test the complete product using the best solutions identified during the prototyping phase.
  • 16.
  • 18. Traditional thinking is concerned with search and discovery; parallel thinking is concerned with design and creation.
  • 19. Sequential thinking demands certainty and absolutes. Parallel thinking, as we shall see later, does not.
  • 20.
  • 21. allow the contradictory views to exist in parallel and then to design a way forward.
  • 22. In contrast to the great readiness of traditional thinking to throw out one side of the contradiction, in the design process we seek to extract maximum value from both sides of any contradiction.
  • 23.
  • 24. Having to be correct at every step makes creativity virtually impossible.
  • 25. If you believe that action springs directly from 'what is' then you are not concerned with the design of action. If you believe that 'what can be' has to be designed then you apply the design process to action itself.
  • 26. • Go to p 120
  • 28.
  • 29. It is the concept through which we perceive the information that gives it any value.
  • 30. The analysis of information will allow us to select an idea from our repertoire of standard ideas but not to find a new idea.
  • 31.
  • 32. Parallel thinking is action- oriented.We move from possibilities to the direct design of action.
  • 33.
  • 34. It is not enough to judge.You cannot grow a garden just by wielding the shears.You do have to plant things from time to time.
  • 35. Values are determined by systems, contexts and circumstances.
  • 36.
  • 37.
  • 38.
  • 39. In traditional adversarial thinking the justification for each statement is sought when that statement is made. In parallel thinking, any 'possibility' is accepted as such.
  • 40. We cannot thrive on judgement alone. Judgement may just be enough to resist change but not enough to benefit from change.
  • 41.
  • 42.
  • 43. At its most powerful a belief is a perception that forces us to look at the world in such a way that the perception is validated.
  • 44.
  • 45.
  • 46. The brain works directly with fuzzy overlap. Activity in one region sensitizes other regions. The excellence of the brain does not arise from its organization as a filing system of discrete pigeonholes but from its organization as a system of multiple overlaps.
  • 47.
  • 48. Wisdom is a way of thinking, not just an accumulation of experience.
  • 49.
  • 50.
  • 51.
  • 52.
  • 53. It is in the inner world of perception that we run our thought experiments, which may look forward into the future or backwards into the past.
  • 55.
  • 56.
  • 60. Creativity involves a willingness to challenge, a willingness to take risks, a willingness to be provocative, and a willingness to step outside the judgements that are a summary of past experience.
  • 62.
  • 63.
  • 64. The intention is that from the 'field' enriched with parallel possibilities an outcome will 'organize itself' or be consciously 'designed'.
  • 65.