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All of these creative ideas and decisions about new ways to reach the consumer can be tracked with regard to how well they are working, whether and how they are building awareness for the product, how well they motivate the consumption of the product, and so on.

John Kao

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John Kao
Age: 74
Born: 1950
Born: January 1
Author
Writer
Way
Ways
Consumers
Decision
Product
Creative
Decisions
Working
Regard
Whether
Reach
Tracked
Ideas
Products
Motivate
Wells
Awareness
Consumer
Well
Building
Consumption

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The C.E.O.'s job in a creativity-driven company is to be an impresario, not a manager.
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Obviously businesses do not operate like an artists' commune. Business involves deploying finite resources to achieve goals in a competitive environment to make money. That is something creative people understand.
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If you come up with a new product, you can very easily track its contribution to the bottom line. But often the challenge can be both large and subtle.
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The head of a record label sets up structures, but he also defines the sound of the label, which is to describe what is desirable, what fits and what is quality for that label and then to create an environment where that sound can thrive.
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The traditional managerial mind-set is an analytical mind-set. It is about creating accountability and defining responsibilities.
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In the end it is the musician who actually plays the notes. The impresario - or the project leader - is only there to make sure that happens. That is a very different type of management mind-set.
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You need judgment, you need to utilize conventional resource-allocation analysis, you have to work backward from estimations of the market to the current investments and you have to do some benchmarking of your product and its potential against your competition.
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The larger the price tag, the more you have to adopt what I call the postmodern management approach. What I mean by that is that you have to use everything when you make a decision.
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A pioneering and invaluable work about what it really takes to build innovation capability in society.
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The impresario functions as a bridge and a translator. He or she is a bridge between the creative point of view - which is often very focused on the creative task itself - and the resource-allocation process. The impresario has to make certain the funds and people required to get that task completed are available.
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You are able to create an environment so that the creative process can take place and that you can get people to perform at their highest levels.
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Communication is the essential medium of a creative culture: the communal sea in which we all swim. A company that can't communicate is like a jazz band without instruments: Music just isn't going to happen.
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Creativity is not like the weather: You can do something about it. And you can measure it well enough to determine its effect on sales and profits.
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The manager's job - the impresario's job - is to preside over the company's efforts to jam so the business runs really well.
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The impresario's job is to pick the right people who can pick the right people. He picks the people who can pick artists and relate to them. People who know what the market craves.
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The conventional asset-allocation method is like sheet music. It is prescribed, it has right answers and wrong answers and it sounds about the same every time. But jamming is different. Jamming is when you make the music. When you improvise and adapt to conditions. When you are creative.
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Managing the creative process means selecting the best people and then letting them do their work. That means nurturing. It also means, from time to time, creating drama - even uncertainty - so that the creative environment has an edge to it, a charge, and does not run out of steam.
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The capacity to creatively improvise is an important factor that differentiates successful companies - or teams - from those that are not successful.
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Instead of command and control, managing the creative process is about facilitating and permitting.
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The imagination is like a muscle: it strengthens through use.
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