The Director Of Scientific Production

Be firm in your intentions to approach leadership, perfectly clarifying your vision of the means to produce science.

"Strike" should have been the theme of the fifth movie. The first vision of "Strike" was, in fact, a translation of his ideas applied to the stage, in this new art of film. Apparently, Sergei Eisenstein played with the movie. He seemed to create an artistic entertainment that he practiced as if with a childish frenzy. But, in fact, "Strike" was a serious attempt. It seems incomprehensible how this director, a recent student of polytechnic school, a man with an unusual curiosity for anything in his path, realized a movie and composed a clipping before knowing the technical means at his disposal.

The only explanation remains that of an Eisenstein firm in his artistic intentions, with ideas as clear as possible, with a "first vision" of the movie perfectly clear, so an artist interested only in subsidiary by the purely practical and technical manner of realizing ideas. This explains also the fact that, often, he claimed seemingly impossible technical solutions, but then realized, however, when the technical factors understood the artistic purpose. *

Can you break the invisible walls of the shortcomings created by the impossible demands of the approaches to the creation that overlap with the current directions of science?

The source of the constant innovation potential of ideas is built on the wavelength of curiosity, so man can manifest his curiosity in two broad directions: towards what is called the "rational practice of the relation between effort and reward" or towards what it becomes in time that obtains certain results.

These tell us how much we are prone to accumulate new frustrations, from errors and contradictions, and how much satisfaction we get comparable to our expectations.

The quality of creative work, added to the whole scale of perceptions, judgments, techniques and motivations fitting to the modalities of generating the "unique" value, of another make than is obtained by translating the results through technology transfer, has as a first purpose an incentive for curiosity, but we still have to note here, instinctively, especially their desire to discover a new vision.

And this systematic curiosity, refined over an entire career, struggling to find a good price to stay in the space destined for creating new patterns and new benchmarks, which allow the distinction between "professional" zone and "personal" zone, is always required to be increased, despite all the risks that involves a beginner's position in the technique.

The shortcomings generated by the impossible demands of the approach to creation in relation to the requirements of practice relate in particular to how you try to evaluate your entire activity over time depending on how ideas and visions are concretized: through visual images, metaphors with special penetration, the ability to tell a history, inner sensibility, the special technique of showing real things, etc.

Inability to reach the maximum point of innovation, contained within a science expanding its horizons, is much more favorable to compromise, showing the installation of a downward trend to materialize ideas in subsidiary. The compromise between the tendency to put your personal Ego into action and the desire to act according to the collective and social Ego is a desideratum that you must accomplish.

Can your science configure the creation trajectories of a superior leadership?

The standards of excellence that you develop have as a support the basic ties between different intensities accumulated between "unusual curiosity for anything in your path" and "the realization of ideas in the subsidiary", involved in the process of generating value uniquely added to the tendency to claim a certain to create a certain manner of creation.

Failure at the professional accomplishment exam is decisive through the wrong maneuvers of installing and repositioning the creation at the level of authenticity. And the implementation of ideas to use and promote science in reality, with original solutions to your taste and to other devourers of novelty automatically includes leadership in the equation of developing new theories and methods to approach science. This science deals with the identification, localization and configuration of trajectories for creating by expanding the leader's consciousness and ability to experience different realities.

The ability to experience both your inner world and especially a world that can ultimately impose seemingly unnatural constraints on the composition of "inserts" outside the unanimously accepted science gives you the chance to reinvent yourself.

Otherwise, we can even speak of a cognitive type failure, which considers the non-achievement of performance targets, and a non-cognitive type failure, which considers your inadaptation to the demands of a much too high science. You must always insert new values, perspectives, concepts and ideas that lead to a new set of leadership meanings, in order to turn yourself into an artist of escape from the universally accepted norms and standards.

An artist interested only in subsidiary by the purely practical, technical way to realize ideas, even if he claims seemingly impossible technical solutions, will be able to give life to an authentic creation, which will have open access to a new source of renewable energy as he perfects his technical means of building his visions.

Higher Leadership takes highlights of science reflected in an "artistic work" when your creation claims to be able to capitalize on some seemingly impossible compositional techniques.

The director of scientific production is the leader that, through a deep knowledge of what is expected of him, becomes a real vector of change, a founder of an effective leadership, based on his own analysis, interpretation, clarification and suggestive character. Leadership must be a unique, customized creation, with a different style of looking at things and creating new scientific approaches.

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.