Entrepreneurial Excellence: Profit from the Best Ideas of the Experts
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Some examples of where DND will be seeking innovative solutions include support to families; the health and wellbeing of CAF members; recruitment, training, and retention; air, land and maritime sensors; cyber security; and more. More and more often, defence and security innovation is found outside of government laboratories, and within industrial, academic or even private settings.
Entrepreneurial Excellence Program
The program offers eight important elements as collaborative tools to foster new solutions and help resolve defence and security challenges. IDEaS supports the development of solutions from conceptualization through to prototype testing and capability development. Through this new collaborative model, IDEaS will provide benefits to Canada, to the defence and security communities, and to the broad innovation community by:.
The IDEaS program framework and business model were developed following a series of consultations with domestic and international partners including the United Kingdom, United States and Australia.
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Experts also met with commercial organizations and innovation hubs in Canada and the United States to better understand their tools and programs. The subsequent analysis and best practices have been applied to the Canadian context and the development of the various IDEaS components and concepts. National Defence Science and Technology. You will not receive a reply.
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Skip to main content Skip to "About government". IDEaS program elements More and more often, defence and security innovation is found outside of government laboratories, and within industrial, academic or even private settings. He likened the life of an idea in a large corporate setting to that of a bill going before the U. The idea is reshaped at various points along the way to suit the agendas of the people whose support is required in order for it to be funded. Christensen advised managers to recognize what that process does to ideas and deliberately decide to contain it.
Kim Scott added that the manager must act as a shepherd—an analogy also used by Christy Jones, founder of Extend Fertility. Both believe that executives must protect those doing creative work from a hostile environment and clear paths for them around obstacles. In fact, Scott warned the managers in the room that, by creating the necessary new structures to support cross-unit collaboration, they might unwittingly create other forms of bureaucracy.
Not surprisingly, some push-back occurred. It all sounds very nice, someone pointed out, but gardens do have weeds; managers must not only water and fertilize, but also kill off the stuff that holds no potential. At what point and by whom should that determination be made? One school of thought says that the people closest to the idea are best equipped to make the call—but only if their personal commitment to its success, and the professional ramifications, can be severed. In a spirited discussion of how ideas should be winnowed, Johansson suggested that the filters must be diverse.
Unless the people sitting in judgment represent a variety of disciplines, functions, and viewpoints, they are unlikely to make wise decisions. Perhaps the best way to tap the wisdom of the broader market is to give it the power to turn thumbs up or thumbs down on new commercial possibilities.
That approach resonated with the company founders present. That committee is death to creativity. Motivating people to perform at their peak is especially vital in creative work. An employee uninspired to wrap her mind around a problem is unlikely to come up with a novel solution. What spurs creativity, however, has long been a matter of debate. A convincing analysis was put forward by Henry Sauermann, then a doctoral candidate at Duke University now at Georgia Tech , who presented new research done in collaboration with Duke professor Wesley Cohen.
The surveys uncovered which workers were more intrinsically motivated—fired up, for example, by intellectual challenge or independence—and which were more extrinsically motivated, by such things as salary, benefits, and job security. The researchers looked at patents filed by each respondent as a reasonable proxy for innovative output.
Their finding was clear: Early-stage researchers who were more motivated by intellectual challenge tended to be more productive. Interestingly, this did not hold true among the group doing later-stage work. A stronger desire for independence was also associated with somewhat higher productivity. The desire for intellectual challenge was, however, much more strongly linked to it. If the keys to creative output are indeed intellectual challenge and independence, management must find ways to provide them. Scott Cook pointed out that some people are simply more revolutionary in their thinking than others and therefore more suited to radical projects.
When people are well matched to a project, granting them independence holds less risk. Ideally, creative workers would be able to set their own agendas, at least in part. The practice of letting researchers spend a significant percentage of their time on projects of their own choosing was famously employed by 3M in its high-growth era. The screen for such projects consists of two questions—is it scientifically tractable, and does it meet an unmet medical need?
A good leader can do much to challenge and inspire creative work in progress. Amabile and Steven J. Kramer, May , Ghosh argued that employees doing creative work are more motivated by managerial behavior, even seemingly little things like a sincere word of public recognition, than by monetary rewards. Arguably, the managerial reactions that speak loudest to creative workers are reactions to failure.
Virtually everyone in the colloquium agreed that managers must decrease fear of failure and that the goal should be to experiment constantly, fail early and often, and learn as much as possible in the process. Kim Scott observed that, ironically, the firms in Silicon Valley that have the hardest time managing creativity are the ones that have been most successful, because they develop an aversion to failure.
How might that aversion develop? Research on firms in an emerging industry by Chad Navis of Emory University and Mary Ann Glynn, a professor at Boston College, suggests that there are particular periods of time when stakeholders become more sensitive to the prospect of failure.
Navis and Glynn traced the first 15 years of the satellite radio industry through the stories of the only two U. In the early years, both companies fought an uphill battle simply to establish the legitimacy of satellite radio.
During that time, both firms focused on making progress toward a viable model, and their individual advantages went more or less unnoticed by outsiders. Performance assessments shifted from the sector as a whole to the individual firms. Fear of failure also seems to rise with the scale of a business. Not only do firms become more conservative as they grow, but fear also makes managers more likely to deny that failure has happened and more eager to erase all memory of it.
Amy Edmondson, a professor at Harvard Business School, underscored what a lost opportunity that constitutes.
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Any business that experiments vigorously will experience failure—which, when it happens, should be mined to improve creative problem solving, team learning, and organizational performance. How can an organization capitalize on failure? Above all, Edmondson said, its management must create an environment of psychological safety, convincing people that they will not be humiliated, much less punished, if they speak up with ideas, questions, or concerns, or make mistakes.
Beyond that, she cautioned against any broad-brush approach. Failures in organizations fall into three quite different types: unsuccessful trials, system breakdowns, and process deviations.
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All must be analyzed and dealt with, but the first category, which offers the richest potential for creative learning, involves overcoming deeply ingrained norms that stigmatize failure and thereby inhibit experimentation. Garvin, Amy C. They define the term as work that is excellent technically, meaningful and engaging to the worker, and carried out in an ethical way. While managers can do much to ensure the first two requirements in a workplace, the third is more problematic—and not because businesspeople are inherently unethical.
Ethics usually are upheld best in areas where a type of work has evolved into a profession—when similarly educated people agree to a set of standards above and beyond their enterprise or personal agendas. Gardner voiced skepticism that any big business, however socially responsible, could make up for the fact that management in general does not constitute a profession. While Gardner did not name specific organizations, other attendees saw hopeful signs that such model organizations might emerge. Venture capitalist Randy Komisar, a partner at Kleiner Perkins, noted that his firm is now focusing part of its business on sustainability.
And the report of an experiment in Peru generated considerable excitement. Peruvian economist Martin Valdivia and Yale economist Dean Karlan, working with a microfinance organization, bundled educational offerings with capital to enhance the commercial skills of the female entrepreneurs it funded.
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Using a randomized control trial, the researchers showed that the training made a substantial difference to the success of the ventures—and by extension, to the alleviation of poverty. As the colloquium unfolded, most participants seemed to warm to the model of management that was emerging—perhaps because it sounded like just the kind of leadership we, wearing our creative worker hats, would appreciate having. One scholar, however, threw cold water on the proceedings by asking us to look at our model from the perspective of the leader.
How do you get a management layer made up of real humans who aspire to that role and will do it? The music business requires the integration of many parties who are not part of the same firm or even a team , including songwriters, publishers, artists, and label personnel. The person bringing it all together is the producer. He or she must exercise leadership in a highly ambiguous context, where there is no clear yardstick for how good the product is and there are no clear rules for who gets to control the output.
The more effective producers create a shared purpose in these ambiguous circumstances while still letting others apply their distinctive expertise. Pursue Extraordinary Results You have great attention to detail and focus on doing the small things well to make the big things extraordinary. You meet your commitments. You model excellence. You hold yourself to the same high standards that you set for our partners.
Get Curious You bring humility to your conversations with others and respect the knowledge and expertise of our partners.