Thursday, April 1, 2010

Unleashing Innovation... An Article

Ten Tips and Twenty Questions for Unleashing Innovation


Mar 12, 2010
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By: Matthew E. May Strategy, Innovation & Design (In Pursuit of Elegance)


If you search Amazon for "Innovation", you'll get over 39,000 book titles. I've read a tiny fraction of the total, but a much larger fraction of the true standouts. And I've written a couple books myself. Innovation is a huge topic, and you can slice and dice it in, well, tens of thousands of ways. Can such a large topic be boiled down to a few enduring principles and ten strategies in an 800-word column? Let's try.

The challenge begins with the definition of innovation. Most of the definitions I’ve seen are overly complicated, scholarly descriptions full of qualifications, and generally serve to exclude the everyman from innovating. IMHO, the best definition of innovation on the planet is the one given by David Neeleman, founder of JetBlue: “Innovation is trying to figure out a way to do something better than it’s ever been done before.” That echoes Thomas Edison’s mantra of “There’s a way to do it better—find it.”

So far, so good. That definition opens up innovation, and makes it accessible, regardless of your sphere of activity or function. Moving on, then, to the meta principles, and invoking the “Rule of Three” (we can remember three!) I come up with these:

  • Ingenuity. Ingenuity is human creativity plus application, idea plus execution.

  • Perfection. Imperfection is what drives innovation, because nothing’s perfect. Perfection is a pursuit, a journey, not a destination. The destination is a placed called “Better.”

  • Fit. Any innovation has to fit. In other words, if you have a better mousetrap, there better be a serious rodent infestation.

I can’t think of a successful innovation without some element of each in it. The challenge is, of course, wrestling those principles to the ground, making them useful, putting them into practice, every day, by everyone. Here’s my list of top ten key practices that help do that. I’ve included a couple of questions for each to prompt your thinking. Each of these relates to one or more of the three principles above.

  1. Let Learning Lead. Learning and innovation go hand in hand, but learning comes first. Learning is defined as the creation of new knowledge through experimentation. Harvard’s David Garvin, an expert on company learning, maintains that “learning will always remain something of an art, but even the best artists can improve their technique.”

    • To what degree is experimentation built into your core work processes?

    • What routines are in place to quickly pilot new ideas?

  2. Learn to See. The most successful innovations often come from customers—get out more and live in their world. Observe them, infiltrate and become them, and involve them in the design. Wear three hats: detective, FBI profiler, and problem-solver.

    • How well do you understand the problem your customers face?

    • What part do customers play in solution design?

  3. Design for Today. Focus on present needs, or your great ideas remain just ideas. Peter Drucker once wrote “Don’t try to innovate for the future. It’s not enough to be able to say ‘In 25 years there will be so many very old people that they will need this.’”

    • What is the great and pressing need your offering meets?

    • What market, societal or demographic shifts can be exploited?

  4. Think in Pictures. Aristotle said it best: “The soul does not think without a picture.”So get visual with your idea: sketch it, storyboard it, diagram it, mindmap it, whiteboard it, butcher-paper the walls and go crazy. Paint a picture of the future, and show progress against your goals in a vivid, appealing, unboring way.

    • What opportunities exist to use images and visual references?

    • What does the idea solution actually look like?

  5. Capture Intangible Value. The most compelling solutions are often perceptual and emotional. It’s the art of business. A Harley-Davidson exec once said “What we sell is fear: the ability for a 43-year old accountant to dress in all-black leather, ride through small towns, and have people be afraid of him.”

    • How do you connect emotionally with your customers?

    • What one word would customers use to describe your uniqueness?

  6. Leverage the Limitations. Resource constraints can spur ingenuity more than a big budget. Things start in the garage for a reason: you have an idea you’re passionate about, it’ll change the world, and it’s the lack of space, manpower and money that drive your resourcefulness.

    • How do your goals stimulate new thinking?

    • Are resource constraints blocking innovation, or enabling it?

  7. Master Creative Tension. Don’t satisfice, don’t glom on to the obvious solution and then just sell the heck out it, or you’ll wake up an also-ran. Breakthrough thinking demands something to break through. Set goals high, and don’t back off, don’t compromise, don’t downgrade your thinking.

    • What tools do you use to frame problems and guide thinking?

    • What key mechanisms do you use to address complex challenges?

  8. Run the Numbers. Think for yourself—temper instinct with insight, focus on facts, and do the math. Google was a math problem. So was Paypal. Nothing better than a little pattern science to fight conventional wisdom. Oakland A’s manager Billy Bean challenged convention by simply looking at statistics, and created a legacy of winning with the second smallest budget in baseball.

    • What patterns might be investigated to challenge convention?

    • What critical success factors in your market space are undervalued, and thus exploitable?

  9. Make Kaizen Mandatory. Kaizen is the Japanese term for continuous improvement, taught to Japan by the U.S. Government following World War II. It’s the everyday practice of pursuing mastery and perfection. It has three steps: create a standard, follow it, and find a better way. Repeat again and again, because there is simply no limit on better.

    • How are new ideas encouraged in your company?

    • How do you sustain constant idea flow?

  10. Keep it Lean. Complexity kills value—scale it back, make it simple, and let it flow. Take a page from Henry David Thoreau’s urge to “Simplify, simplify, simplify!” Combine it with the Michelangelo strategy: “I saw David through the stone, and I simply chipped away everything that was not David.” Target overload, inconsistency, and waste. Think: Google interface. In ’N Out Burger. Twitter.

    • How effortless is it for customers to pull value from you?

    • What would your customers love for you to eliminate, or stop doing?

Obviously, these are practical strategies, not nitty-gritty tactics. The questions should help prompt your own interpretation of the actual implementation of them.

Final thought: while innovation demands the pursuit of perfection, the best idea is often a brilliant imperfection. More on that to follow!

Matthew E. May is an innovation consultant and the author of In Pursuit of Elegance: Why the Best Ideas Have Something Missing. He blogs here. You can follow him on Twitter here.

Wednesday, March 24, 2010

MMW Offers Scholarships

Check out this article from the Bangor Daily News... If you know any Maine high school students pass it on!

Media Workshops sets $10,000 scholarships


By BDN Staff
BDN Staff

ROCKPORT, Maine — Maine Media Workshops has launched a new scholarship fund for Maine high school students attending MMW’s Young Artists Program. Partnering with Camden National Bank, MMW has committed $10,000 for Maine Youth Scholarships in 2010.

The Young Artists Program, which takes place in June, July and August, provides opportunities for students ages 14-17 to study photography, filmmaking, multimedia and acting. More than 30 one- and two-week classes include introductory and advanced course work as well as specialized workshops in editing, screenwriting, animation and special effects.

Teens from across the country travel to Maine every summer to study with world-class faculty members and work with peers from a wide range of backgrounds.

Over the past three years, while 150-200 students have participated in the program, only 10 each year have been Maine residents. Community outreach has been a primary goal of the school since it transitioned to a nonprofit organization in 2007. The new scholarship fund will make it possible for more Maine teens to participate in the Young Artists Program.

“Camden National Bank’s commitment to opportunities for youth and cultural enrichment for the community make them an ideal partner for this program,” said MMW President Charles Altschul. “We’re grateful to [the bank] for providing critical support for the scholarship fund in its inaugural year.”

The experience of a workshop opens up for young people not only the chance to expand their knowledge of a favorite hobby, but also the opportunity to discover possible careers in creative industries. Many MMW high school alumni present examples of the work they produce in Rockport as part of their college applications or for employment.

“Sometimes all a student needs is an opportunity, a chance to express themselves and to be immersed in a creative environment,” said Greg Dufour, president and chief executive officer of Camden National Bank. “We’re pleased to partner with MMW to help Maine youth realize their dreams, which will help fuel the creative economy of Maine.”

Application is by letter of interest, evidence of financial need as demonstrated on the application form, accompanied by legal guardian’s most recent tax return, and three letters of recommendation. The deadline for submissions is 5 p.m. April 23. Awards will be announced the week of May 16.

Visit www.mainemedia.edu for complete course descriptions and details on registration and scholarships. Contact MMW directly by e-mail info@theworkshops.com or phone 236-8581.

Thursday, March 18, 2010

Pecha Kucha Rockland - March 26th

FOR IMMEDIATE RELEASE

Pecha Kucha Night Travels to Lincoln Street Center for Arts and Edcuation

Midcoast Magnet and the Lincoln Street Center for Arts and Education (LSC) have teamed up to host the first 2010 Pecha Kucha Night in Midcoast Maine on Friday, March 26 at 7:15pm at Lincoln Street Center, located at 22 Lincoln Street in Rockland. Nine individuals have been chosen to show 20 images for 20 seconds each, a fast-paced and engaging program to be followed by discussion and socializing. Pecha Kucha Night is open to the public and doors open at 6:30pm. There is a $5.00 admission fee and light refreshments will be served. Seating is limited to 280 seats on a first-come, first-served basis.

The following nine individuals have been chosen to present at the March 26 event:

Jim Macdonald (marquetry/inlay artist and furniture maker); Kevin Johnson (photo archivist at the Penobscot Marine Museum); Cythia Motain McGuirl (printmaker and painter); Jesse Watson (permaculture designer); Mark Kelly (mixed media artist); Jim and Amy Grant (Good
Karma Farm and Spinning Co.); Brian Willson (font designer); Ben Potter (mixed media artist).

The MC for the March Pecha Kucha will be Joshua Woodman. Josh is a native to Rockland and a self-taught artist with a passion for creating.

Pecha Kucha (which is Japanese for chit chat) was conceived in Japan in 2003 as a place for young designers to meet, network and show their work in public. It has grown to include more than 180 cities worldwide, thus answering a global demand for a forum where creative work can be easily and informally shown. The unique format of 20 images discussed in 20 seconds each keeps presentations concise, the interest level up and gives more people the chance to show.

Founded in 2004, Midcoast Magnet (www.midcoastmagnet.com) brings people together to develop innovative projects that support creativity, livability and economic sustainability in Midcoast Maine. As a non-profit organization dedicated to vibrant culture, entrepreneurship, and making connections socially and professionally, Midcoast Magnet is a proud partner in Pecha Kucha Night.

"All of us who are part of the Lincoln Street Center community are pleased to welcome Pecha Kucha and the talented individuals who help to make the Mid-Coast community such a special place to live. There is a vibrant creative energy here at the center, one that begins with our
own studio artists and to that we're excited to be adding the truly unique creative energy that Pecha Kucha night provides,” says Dale Schierholt, President, Board of Trustees, Lincoln Street Center for Arts and Education. The Lincoln Street Center provides the arts for everyone, offering affordable classes, wide-ranging exhibitions, studio space to working artists and special art-related events and performances. Lincoln Street is a supportive environment where people
of all ages, backgrounds and abilities can study, create, and present all forms of art. Through educational programs, opportunity outreach and exhibitions, Lincoln Street Center brings people together and enhances community life.

For questions about the upcoming Pecha Kucha event, please send an email to rockland@pechakuchamaine.org or call Midcoast Magnet board member Mary Bumiller at 207-949-9155.

Midcoast Magnet... Who, What, Why, How

Midcoast Magnet develops leaders in support of innovative projects that foster creativity, livability and economic vitality.

We're a non-profit organization of people dedicated to vibrant culture, entrepreneurship, and socially and professional networking.


Juice Conference: The Juice Conference is bi-yearly conference held in Camden. Juice is a forum for the exchange of ideas, the sharing of success stories, and the development of strategies for Maine’s future. Juice connects leaders of the creative economy to foster growth and prosperity. By weaving together the arts, technology, and entrepreneurship, Juice inspires innovation by bringing talented people together from widely different backgrounds to build on Maine’s traditions. Juice 3.0 November 11-12, 2011 www.juiceconference.org

Pecha Kucha: Pecha Kucha Night is an internationally recognized event based on a unique presentation style in which artists, designers and other creative individuals share twenty images, or each image. Pecha Kucha Night Rockland spans the midcoast, from Thomaston to Belfast, and strengthens community by bringing people of all ages together to consider ideas and images presented by various creatives in our area.

Build Green Maine: Build Green Maine was originated by Midcoast Magnet with the intention of connecting practitioners in the various areas of green building and renewable energy with each other and with homeowners and other stakeholders in Maine’s. BGM is currently going through a transformation. To learn more about it contact George Callas.

Juice Boxes: We want to keep the conversation moving in the creative economy and between Juice conferences. In support of this effort we will be producing quarterly events, called “Juice Boxes”. Each Juice Box will be crafted with specific sectors of the creative economy in mind, at least two sectors, bringing them together, having speakers, panelists, a dialogue or theme to be continued from Juice, the ability to walk away with a new or improved skill, and ample time to network. The sectors focused on, but not limited to, are: the arts, entrepreneurship, investment, fundraising, networking, technology, and innovation.

Wanna Social Network… In Real Life?: We held some focus groups last year and it became apparent to us that the 20/30 demographic in Midcoast Maine wants to be more involved. We have designed some events to bring them together to socialize, network and tell them more about the events we have coming up. We had the kick off event in March at Billy’s Tavern and it was a great success! We will be having more. These events are not meant to exclude, but actually the opposite – they’re meant to include! Learn more on our website or facebook.

Monthly Networking Events: Midcoast Magnet will broadcast events happening within the community and invite interested parties to go to the event together. At least one of our board members will be there to welcome and network with you. The outings range from art walk nights, plays, techy gatherings, and more. Let us know if you have an event you would like to promote and we will add it to our calendar and put it in our newsletter.
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Many Ways To Get Involved...

• Start coming to events! Email info@midcoastmagnet.com to get on the list. You will receive updates on upcoming MM events, as well as other happenings in the Midcoast and beyond.

• Stay tuned for the new www.midcoastmagnet.com - we will be announcing it soon.

• Find us on Facebook: www.facebook.com/midcoastmagnet

• Join our board: The Midcoast Magnet board is always expanding and always looking for people that want to contribute. We would love to meet with anyone interested! Email Amber Heffner and come to our next board meeting.

• Join a committee: We welcome volunteers for all of our programs! You don’t have to be a board member to join a committee. Contact the Committee Chair for more information.

Pecha Kucha: mary.bumiller@bangor.com
Build Green Maine: georgemcallas@msn.com
Juice Boxes: kimberlycallas@mac.com
Monthly Networking: jasiecostigan@yahoo.com
Juice 3.0: aheffner@littleharbortech.com
Fundraising: skip.bates@bangor.com
Social Networking: jasiecostigan@yahoo.com

Monday, March 8, 2010

What Is Beauty?

Donna McNeil, Director of the Maine Arts Commission graced us with her poise and perspective at the Built Energy Forum last January (2009) at the Augusta Civic Center. There she gave an address that is absolutely worth publishing again!

Written and Presented By Donna McNeil

Look around, everything outside the natural world is man made and all of it designed. We are at a global tipping point where the future has the possibility of being radically different from the past, a moment where design is activism. On the eve of the historic election of Barak Obama we were asked to help him remake the nation “block by block, brick by brick, calloused hand by calloused hand. Infrastructure is suddenly a buzzword, so alluring it could be the name of new cologne. Roosevelt’s Works Progress Administration so titillating it could be the latest gizmo from Steve jobs. Truth is, designers have been on the track of globally responsible design for at least a hundred years. Now is the moment…..
In the next few minutes I will re-present ideas gleaned from folks much brighter than I, reassembled and juxtaposed with the hope of providing stimulus for todays topic.

My presentation revolves around three axioms:
truth is beauty, form follows function and necessity if the mother of invention.

In 1919, Walter Gropius, a German architect, founded the Bauhaus school in Dessau. The aim of the Bauhaus was a "unity of art and technology" – beauty and truth if you will -- to give artistic direction to industry. The design philosophy behind Gropius’ architecture was to retain the importance of function and still remain aesthetically pleasing, form follows function. A respect for materials and a regard for being severely economic are ideas which set the standard for modern architecture.

Responding to events in Germany in the 1930’s including the repression of the work at the Bauhaus, Gropius moved to the United States and became Chair of the Graduate School of Design at Harvard University. In 1945 he founded The Architects' Collaborative, one of the most well-known and respected architectural firms in the world. Walter Gropius was a great theorist who brought art and engineering together exemplified by his functional and simple architectural style, His theories are still practiced and evidence themselves as particularly relevant and timely today.

Form follows function:

Buckminster Fuller, one of our world’s first futurists and global thinkers was born in 1895 in Milton, Massachusetts. By 1927, Buckminster Fuller pledged to work always and only for all humanity. This personal pledge led him to address the largest global problems of poverty, disease and homelessness. He realized early on that by examining global problems in the context of the whole system—the whole planet—he would have the best chance of identifying large-scale trends that would allow him to anticipate the critical needs of humanity. This “big-picture” approach evolved into a comprehensive assessment of humanity’s global situation—where we have been, where we are now, and where we are going.

Fuller called his approach to global problem-solving “Comprehensive Anticipatory Design Science.” The central principle of this approach is “doing more with less,” that is, securing the maximum life-sustaining performance achievable per each pound of material. Simply put, by using the resources on Earth most effectively, we will have enough for everyone to enjoy a high standard of living. This is the principle Fuller dubbed “dymaxion.”

Fuller’s comprehensive research into our global situation led him to pronounce the Malthusian world-view of human overpopulation, resource depletion, and eventual self-destruction to be absolutely in error. Due to advances in technology that Malthus had no way of foreseeing, humanity, he believed, has developed the capability to provide adequate food, shelter, and energy for every man, woman, and child on Earth.

Great scientists and great artists are not only subjective and pure but also objective and responsible inventors. To Fuller’s mind some of the great artists of our time are Henry Ford and Albert Einstein. Because of a comprehensive outlook, their art reflects many disciplines, especially science. Fuller often stressed the importance of blurring the artist's and scientist's roles and envisioned that these two opposite sides of the cultural pendulum's swing would eventually come together. He was perfectly aware that this was not an entirely new thought, as he himself quoted Leonardo da Vinci, who he called a painter, sculptor, architect, engineer, inventor of the wheelbarrow and other useful instruments from the speaking tube to the mechanically gyp-proof whore-house, and who wrote: "the further art advances the closer it approaches science, the further science advances the closer it approaches art."

Beauty is truth

The problem of how one may navigate contradiction and complexity is central for those working in art and technology. Fuller provides a model that points to integrity as being key in the work one builds. Although he professed a lack of interest in how his projects looked, he believed that a project at completion was beautiful if it possessed integrity, which to him was the key to aesthetics. Again, form follows function, truth is beauty.

"The great aesthetic which will inaugurate the twenty-first century will be the utterly invisible quality of intellectual integrity; the integrity of the individual dealing with his scientific discoveries; the integrity of the individual in dealing with conceptual realization of the comprehensive interrelatedness of all events.

If everything that can be seen or imagined can be known and made, then everything one makes is worth contemplating. We live in an artificial environment we have collectively created and must collectively use. The appearance of the world as one has made it should be a source of spiritual and intellectual pride.
Look at our built environment with attention and clarity and a sense of its place in the economy of the whole. Gone are the days when craftspeople worked a lifetime on a project to be completed 400 years hence, completely satisfied that they were making an honorable contribution to their society and contentedly delivering to the future without hubris.

Necessity is the mother of invention

During the years of the Great Depression in America, modernist designers developed products and lifestyle concepts intended for middle-class—not elite—consumers. Modernism combined International Style, functional efficiency and sophistication with a respect for consumers’ desires for physical and psychological comfort -- ideas paralleling Gropius’s and Fuller’s architectural design concepts. New Englanders seem to be especially reluctant to embrace modernist design. Living with an abundant historic building inventory, when the opportunity presents itself to build new, they often opt for imitating the past. There exists a deep insecurity around major investment in untested design and enormous security in time honored methods. The predisposition to comfortably appropriating the past does not offer our communities the chance to define this century, this amazing moment. How does rooting ourselves steadfastly in the design concepts of our forefathers identify this age or move us forward with authentic response to the particulars of our age?

In flush economic times, consumers don’t covet the concerts you hear or the books you read, they covet your possessions and then they go and buy cooler versions. In the recent giddily hyper financed years, Michael Cannell writes in a January article in the New York Times, signature architects and designers came to be known by their first names –Rem, Phillipe, Zaha – and they were photographed as prolifically as Bono in new design hotbeds like Miami and Dubai. Brooklyn designers became the apotheosis of indie cool. Now, with those slick Miami condos sitting empty, designers are rethinking their priorities just as American designers took the depression as a call to arms. It was and is a chance to make good on the Modernist promise to make affordable intelligent design for a broad audience. In the scarcity of the 1940’s, Charles and Ray Eames, for example, produced furniture and other products of enduring appeal from cheap materials like plastic, resin and plywood and Italian design flowered in the aftermath of WWII. As with every facet of life, there will be less design, but better design. Design will be vetted for efficiency and usefulness. The economic condition will be the curator. Designers will shift their attention from consumer products to the more pressing needs of infrastructure, housing, city planning, transit and energy. Artists are coming up with new ways of looking at and solving complex problems and if the new administration delivers anything like a works progress administration (WPA) we “could be standing on the brink of the most productive periods of design ever. “

Modernism’s great ambition was to democratize design. Ikea and Target have shown that the battle for good cheap design can be won. The emphasis will shift to greater quality at affordable prices. Expect to hear a lot more about open source design and cradle to cradle, a concept developed by William McDonough and Michael Brangart that calls for cars, packaging and other everyday objects to be designed specifically for recycling so that their parts and materials are used and reused without waste.

So. YOU, voters, consumers, taxpayers, citizens, make your choice


I Died for Beauty Emily Dickenson

I died for beauty, but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.

He questioned softly why I failed?
"For beauty," I replied.
"And I for truth - the two are one;
We brethren are," he said.

And so, as kinsmen met a-night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names.


Now is the time to resurrect our responsibility to truth and beauty, to integrity and global sustainability.. Fear is neither reason nor philosophy. Avarice a destructive motivator.

We cannot not change the world


Michael Cannell writes in a January article in the New York Times,
Reed Kroloff, director the Cranbrook Academy of Art.

Wednesday, February 24, 2010

What Is The Creative Economy?

By: George Callas

The 2009 Juice 2.0 Conference: Building Maine’s Innovation Networks brought together a great cross section of Maine’s leadership under the banner of the Creative Economy. We at the Midcoast Magnet have been buzzing about the roles that creative types can play in developing our state’s future, ranging from gubernatorial candidates and legislators to artists, bankers to technologists, builders and preservationists to dancers, educators to social networkers and so on, The connections and hats worn vary and run the gamut.

The Creative Economy, like the weather, is something that everyone seems to have an opinion about. With vague notions about what it actually is, it is hard for individuals and organizations to coordinate activities and commit resources towards its advancement.

The first level attempt to define the creative economy is deciding who makes up the creative class; the economic agents of creativity. Right out of the gate, we tend to think of the artists, isn’t all of their work creative? But in the core, the artists are also joined by the scientists, engineers, architects, designers, and software developers, along with those in the entertainment, education and music fields. However, another tier to the creative class is the broader group of creative professionals in business and finance, law, government and healthcare. Anyone who has followed stories around hedge funds, Ponzi schemes or Enron has some idea just how creative people in these disciplines can be. Finally, the third tier to the creative class is one not typically associated with creativity at all; factory and service workers. We all can attest to circumstances and stories where people in these positions went above and beyond to create solutions to customer problems. Tapping the creativity of workers in repetitive task positions has helped many firms excel in productivity and profits.

While there are traditionally defined creative-types in the economy, virtually any person in any kind of job can help further the creative economy cause. The conclusion is that creativity is “the ultimate economic resource”, but it draws crucially on our ordinary abilities. In this light, perhaps the ubiquitous buzz from Juice was to be expected, everyone was excited in their own way about their own field.

The crucial point and question here is if Maine wants to redefine itself along the lines of the creative economy does that mean we have to create certain kinds of jobs? Well yes, and no. On the one hand, having more scientists doing more research certainly helps. On the other hand, cultivating the creative potential in people throughout Maine’s economy also helps. This is where the Juice Conference comes into play; if nothing else it keeps alive creativity by “frequent and random collisions of people and ideas.” But, it is more than that, during the Perfect Pitch competition at this year’s conference over 40 Maine start-ups connected with bankers and venture capitalists, while honing their presentation skills.

If the creative economy can be developed both by developing “creative” jobs and by actively cultivating the creative capacity of ordinary people, what then can help Maine distinguish itself? This gets to the heart of the Creative Economy question and the answer turns out to be a traditional one: Place. It turns out that creativity flourishes in socially stable environments that nonetheless provide opportunities for random inspiration and the display of quality work. While this tends to be more available in major metropolitan areas, where individuals can circulate through social circles and following veins of attraction or inspiration, many come to Maine because they want to be in Maine. It is harder here to move in quasi-anonymity, alone with inspirations, without running into several people you know.

From a classical Creative Economy perspective Maine may not be socially great for the creative type. But, this is where organizations like the Midcoast Magnet come into play. The Magnet brings together people in decidedly creative vocations around its core activities, we don’t just hang out, we do stuff. And the stuff we do! Pecha Kucha, that funky Japanese creative showcase has attracted over 1,000 participants thus far around the Midcoast region, introducing leading-edge creative economy practitioners in a wide array of fields. The Juice Conference provides a concentrated form of creative stimulation across many fields and regions, from both inside and outside of Maine. The Magnet’s Juice Box events represent a scaled down version of this function across specified vocational fields. And all these events inspire participants to more deeply plumb their creativity storehouse and actively cultivate that precious economic resource.

Perhaps here we practice a more mature brand of the creative economy. What we may lack in streetscape fluidity and anonymity, we make up for with landscape beauty and endurance of engagement among creatives. Perhaps being in relationship with people whose creativity is on the go and growing more than compensates for the chance to substitute friends and stimulations. While big investments to create decidedly creative jobs is a fine thing, growing indigenous creative networks will probably in the long run do more to remake the face of Maine’s future economy.

Submitted By: George Callas - Midcoast Magnet Treasurer and President of Build Green Maine

Friday, February 19, 2010

Community Supported Agriculture in Maine

With over 140 farms and 6,200 shares, Maine's CSA community is transforming relationships with food and farms. There is no formula to a CSA. Each is unique as the community supporting it. The bottom line is that people make commitments to farms, and in return farmers make commitments to produce for their members the freshest, most flavorful, highest quality food possible.

Just in Knox County alone there's 10 farms offering share programs. What's better than that? Fresh produce every week right off the farm!

Agricola Farms
, Union
Brae Maple Farm, Union
Dandelion Spring Farm, Washington
Guini Ridge Farm, Union
Hatchet Cove Farm, Warren
Home Grown Farm, Washington
Hope's Edge Farm & CSA, Hope
Peaceful Harbor Farm, Vinalhaven
Sweet Willow Farm, Washington
Weskeag Farms, Thomaston

Every county in Maine has CSA's. To find one in your county go to www.mofga.org

Information courtesy of Mofga.org

Friday, February 12, 2010

Wanna Social Network... In Real Life?

Wanna Social Network... In Real Life?

Social Network… In Real Life
March 16th at 5:30
Billy's Tavern, 1 Star Street, Thomaston


Midcoast Magnet held some focus groups last year and learned that people living in Knox and Waldo counties who are in their 20's and 30's want to get more involved, but they don't know how. They told us they want to meet each other, socialize, network and propel themselves in their personal and professional lives. They also mentioned that live music, and a good atmosphere wouldn't hurt either!

We went back to the drawing board and came up with a program "Social Network... In Real Life".

Do you find yourself wondering who else in Knox County is in their mid 20’s and 30’s?

Are you trying to find more business connections and to expand your resources in the Midcoast? Midcoast Magnet wants to help! Check out our first event, which will be a part of a series.

We’ll have appetizers and live music. Come network and socialize at the same time. For more information or questions contact info@midcoastmagnet.com

Are you on facebook? You can RSVP for the event.
Go to: www.facebook.com/midcoastmagnet and click on events

Thursday, February 11, 2010

Pecha Kucha - March 26th

Open Call for Entries


What Is It? PechaKucha Night is an internationally recognized event based on a unique presentation style in which artists, designers and other creative individuals share twenty images, with twenty seconds for each image.

PechaKucha Night Rockland spans the midcoast, from Thomaston to Belfast, and strengthens community by bringing people of all ages together to consider ideas and images presented by various creative makers and thinkers in our area. While grounded in the visual arts, PechaKucha Night Rockland is open to a spectrum of imaginative endeavors and encourages visual storytelling as a way of sharing personal projects and introducing fresh perspectives. The organizing partners hope the evenings will result in new connections, deepened discussions, and in some cases, lead to future projects and collaborations.

What to Present? For the March 26th event at the Lincoln Street Center in Rockland, the selection committee is looking for a range of work from designers, inventors, visual artists, architects, chefs, boatbuilders, etc. While the committee can only accept eight presenters for our March event, keep in mind that there will be more PechaKucha Night events in the midcoast area in 2010 and once you submit, you can be considered for future dates.

If you are interested in becoming a presenter at the March event, please email rockland@pechakuchamaine.org no later than Friday, February 26th with the following information: 1.) your name and contact information (mailing address, phone number, email), 2.) the medium you work in, 3.) a brief description of your work and your process, along with an overview of the story you’d like to tell (250 word maximum) and 4.) a link to your website or five low-resolution images of the work you'd like to present. Submissions received after February 26th will be considered for future PechaKucha Night events.

If you have any questions, please email rockland@pechakuchamaine.org

To learn more about Pecha Kucha International, see www.pecha-kucha.org or to see a list of past presenters, see http://www.pecha-kucha.org/night/rockland-maine/

Wednesday, February 10, 2010

Midcoast Magnet Open House

The Midcoast Magnet Board invites you to an Open House on February 23rd in Rockland. Come mingle, network, learn more about Midcoast Magnet and meet the Midcoast Magnet Board.

Event: Midcoast Magnet Open House
Date: Tuesday, February 23rd
Time: 5:30 - 7:30 pm
Location: Asymmetrick Arts
Address: 405 Main Street. Rockland, Maine

You can RSVP for the open house on our facebook page:
www.facebook.com/midcoastmagnet