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Week 2 Reading
Much like any human, an apparatus of ever-flowing possibility and change that presents itself as a collected and coherent thing on the exterior, you will inevitably find yourself or be found by others swerving between the different positions in the Drama Triangle - the victim, the persecutor and the rescuer.
Stemming from Stephen Karpman’s psychological theorization, the “drama triangle” is a concept that explains the conspicuous fashion in which we assume certain archetypal roles within different social spheres. Despite these roles not being fixed identities, we’re much likely to fall into a propensity for particular patterns of roles, depending on the circumstances: The Victim views themselves as an involuntary product of the situation they happen to be in; they internally adopt an inferiority complex or feelings of subordination as a means to rationalise the idea that in the event of most misfortunes and encumbrances - be it in a convivial space or professional - will surge from somebody else and seldom themselves, namely from the ... The Persecutor. They could both be a person or the very context of the dilemma at hand. This entity flounders in the actual diagnosis of the toxic dynamic and resorts to delineating flaws and problems in people and things, which counterproductively feeds into the tension itself. As the Victim is subjugated to the bashing of the groundless Persecutor and vice-versa, the steering of the sinking ship is often taken up by... The Rescuer, or in my own scientifically-founded terminology - the Stoic Saviour: the interwoven practice of vanity and selfless virtue. In other words, they are seemingly bidding to identify and remedy the Victim’s problems, but inadvertently only rescue their own self-image and consequently stripping the Victim and every other person in the network of their dignity and autodidactic capabilities.
This dynamic often operates like a conflictual power structure and was (to academic acclaim) raised by Karpman as an essential social model illustrating a staple system in destructive human interactions. Though pinpointing these key flaws, Karpman failed to prescribe methods of rectifying these relationships. Fast-forwarding to 2005, decades after his definitive theories a more correctional approach began to foster. Disenchanted by his reading of this “Dreaded Drama Triangle”, David Emerald Womeldorff devised a model which has since its inception influenced and structured how teams in organisations approach their problems. The Empowerment Dynamic
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Week 1 Reading
First and foremost, we ought to truly learn to listen to what the person on the other end of the conversation is saying. Not hear... but LISTEN. I often find myself with an itching impulse to add on to whatever the speaker is saying merely seconds after they’ve begun, in attempt to convey empathy or my foreshadowed understanding of the matter at hand, but this tends to work in the very opposite effect - giving off the impression that I’m trying to rush them to my make my thoughts heard with little to no consideration for theirs. A subtle gesture like an affirmative nod will often suffice in establishing the connection I often try to communicate. Whatever ideas are being prompted in my mind, I now try to reserve until after the speaker has concluded - which by then, they have already inadvertently cleared those initial doubts.
Like the the unwise monkey illustrates above, upon absorbing the consecrate words of whoever is speaking I really tried to gaze deeply into what I had just heard. Not simply in a literal sense but in a sort of intersection between the rational, emotional and creative facet of the information. Albeit in almost just a fraction of a second at times, the human mind is apt at making logical judgements of the nature midst a conversation. This subconscious thinking works so intuitively you don’t even have to think about thinking. But I still had to make it my conscious duty to, once again, communicate my comprehension effectively. I made an effort to block out - what in Jonkerian theory is called - the “inner voice” as I reflected on what I had just heard, so as to first understand it in an objective sense and only then channel my subjective feelings or thoughts about what the person was saying.
Lastly, and only lastly - you need to show that you’ve processed the information , so much so that you have ideas or thoughts regarding it. You must show this not only to yourself, but to who you’re speaking to. The neruosis I’ve diagnosed in myself and in others that takes shape during dialogue is that we (the responding person) often focus on fulfilling or ego whilst giving our reflective feedback. Whether for intellectual ostentation or to feel social virtuosos, we tend to internally demonstrate to ourselves how receptive and proactive we are as opposed to channeling the thoughts constructively to the people/person we’re speaking to - which defeats the very communicative purpose of it all. Which is why I tried being honest and strict - rationing my words exclusively to things I actually felt were going to inform the discussion/conversation in one way or another, and not sidetrack - specially in non-casual sitautions.
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Task 3: Blue Ocean Strategy Case Study
Acknowledging the advent of film production & distribution company A24′s disruption of the film industry, I decided to comparatively examine - through the Blue Ocean Strategy - how it subverts the business model championed by the “blockbuster” studios. Not conforming to commercial film archetypes and trends, A24 bends the rules by bringing to screens challenging narratives that transcend the Hollywood canon of styles and genres, whilst still exhibiting them to a profitable number of audiences and forming alliances with larger companies. Following the “independent” film distribution strategy, they look for writers and directors with bold, distinctive scripts, often even allowing for fully fledged experimental/avant-garde films - whereas in major pictures such as Marvel films, films adhere to an established communicative structure.
The constraints within the major players in this industry extends to its approval of productions. Yearly, Walt Disney Pictures - one of the eight monolithic film production companies under Disney’s umbrella - averages only about 10 feature films. Through entering deals with video streaming services DirecTV Cinema and Amazon Prime and choosing to focus on smaller productions, A24 has been financially capable of releasing about 14 pictures on average p/year. This statistic is only going to rise, taking into account its recent multi-year partnership with Apple and Hollywood actors’, filmmakers’ and the likes’ growing foray into art films - which serves as a pull factor for average moviegoers to more offbeat cinema. Moreover, the prioritisation of smaller-scale movies also minimises the budgets they generally deal with, which reduces expenses.
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TASK 2: Personal Profile Podcast For the 2nd assignment, Harry and I discussed our surprisingly-equal personality types.
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Task 1: Industry Map
An eclectic list of places I’m considering as prospects to my design magnificence.
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