Ferd har en visjon om 奪 skape varige verdier og sette tydelige spor. Katinka Greve Leiner forteller hva Ferd gj淡r for 奪 st淡tte sosiale entrepren淡rer og om utfordringene ved 奪
m奪le effekten av investeringene.
L脱r ogs奪 hvordan denne typen engasjement fremmer nytenking i bedriften.
Katinka Greve Leiners presentasjon av sosialt entrepren淡rskap under oppstartseminaret for prosjekt Helhetlig Barnevern i Vestfold 13. mai 2011 i Sandefjord.
Hva gj淡r vi n奪r dagens l淡sninger ikke gir 淡nsket effekt? Kan sosial innovasjon v脱re mer verdiskapende enn du trodde? Andresen har gjennom sitt eierskap i Ferd, vist stor omtanke og engasjement for barn og unge som av ulike grunner faller utenfor i samfunnet. Gjennom sosialt entrepren淡rskap stimuleres nye l淡sninger og tiltak som utl淡ser de unges potensial. Av eksempler kan nevnes P淡belprosjektet, Barnevernsproffene, Forandrings-fabrikken og Kj淡r for Livet. Andresen utfordrer gjerne det offentlige til nytenkning n奪r dagens ordninger ikke fungerer som 淡nsket, og Ferd bidrar med kompetanse og penger til skalering av sosial nyskaping.
This document provides a summary of Aaron John Barlow's education and professional background. It includes:
1) Barlow received a Ph.D. in English from the University of Iowa in 1988 with a dissertation titled "Politics, Reality, and Religion in Philip K. Dick's Fiction." He also holds an M.A. in English from Iowa and a B.A. in Philosophy from Beloit College.
2) Barlow has worked as a professor of English at New York City College of Technology since 2006 and previously held positions at other universities. He has also authored several books on topics including blogging, DVDs, and celebrity.
3) Current projects include co-editing a book on influential sitcoms
This document summarizes research done on promotional covers. It finds that promotional covers typically feature the artist and album name prominently displayed, along with the release date, versions of the album available, and the artist's website. Imagery is usually just of the artist to promote them, and colors are used to make the cover eye-catching. Typography choices like font size, bolding, and word selection are meant to attract attention and relate to the target audience. The codes and conventions found were then analyzed in two example promotional covers.
Both videos depict themes of rebellion and escaping expectations. "Time to Pretend" portrays the dark reality of rock stardom, while "Numb" shows a woman struggling under pressure to conform from her mother and seeking her own identity. The videos use narrative and symbolic elements to explore societal issues and illustrate lives different than what they may seem.
The document discusses the process of constructing a music video. It describes adding various video transitions, effects, and editing clips to create flow. It discusses saving the final video in different formats for various devices. Rendering was required after any edits to preview changes. Pixilation from low camera resolution was used as an effect to symbolize uncertainty. The process helped the students improve digital production and editing skills.
The document summarizes the roles and responsibilities of group members in creating a music video. Zeeshan was responsible for ancillary tasks, Zafraan efficiently edited the video, and Judah completed research. They worked collaboratively on planning. The group followed conventions of music videos by including music, clips, and costumes to promote the artist. They developed the narrative and used techniques like camera angles, transitions, and special effects to tell a story and elicit emotions from the audience.
The document discusses conventions used in music magazines and how the creator applied and developed these conventions in their own magazine. Key conventions included using prominent images and quotes on the cover to attract readers, as well as features, exclusives, and a freebie giveaway. The creator aimed to represent the grime/hip-hop genre through stylistic choices like poses, backgrounds, and fashion while making the magazine feel polished and on-trend. Overall, the creator worked to authentically apply genre-specific conventions while putting their own spin on conventions like placement of elements and use of captions.
The document provides details about the roles and responsibilities of group members in creating a music video. It discusses how they used and developed conventions of real music videos, including using movie clips, costumes, actors, and locations to match the chosen music genre. It also describes the narrative structure, camerawork, editing, sound, and other technical aspects used to make the music video effective at promoting the artist.
This PowerPoint contains evidence of the group collaborating in the construction and planning stages prior to the production stage, with each member working at their workstation to plan and research products and some initial work being produced, along with a timetable to organize and maximize their work.
This document summarizes the results of a questionnaire about music video viewing habits. The questionnaire found that most respondents were female, between 18-35 years old and students or unemployed. Most watch music videos daily on YouTube from their computers or TVs. Respondents preferred hip hop and rap genres and narrative music videos that are slow-paced. The results informed the creation of a new music video that meets audience demands like including more actors based on their preferences.
The document summarizes research conducted to determine what type of music magazine would appeal to teenagers and young adults. The research found that the target audience preferred a magazine focused on hip-hop music that included articles on new artists and albums, interviews, and scandals, as well as listings of both latest and all-time hits. The audience also wanted the magazine to advertise concerts and shows and include concert tickets as freebies with fan mail featured.
This document discusses Ferd's plans to support social entrepreneurs through investments of up to NOK 10 million per year. It will focus on projects involving children/youth education and empowerment. Ferd will provide expertise in strategy, business development, finance, and networking. It will prioritize projects that can create measurable impact, be scaled internationally, and where Ferd employees are willing to contribute time. The goal is to have 8-12 ongoing social entrepreneur engagements by 2013 and continually add 1-3 new projects and exit 1-3 projects each year.
This song features Mike Shinoda and other Fort Minor members trading verses where they boast about their rapping skills and abilities. They reference smoking marijuana, drinking alcohol, partying with women, and intimidating other rappers. The lyrics switch between members bragging and a few comedic interludes where they joke about another member getting sick from drinking.
The document describes the process of creating a promotional cover for a magazine using Adobe InDesign and Photoshop. Key elements like the background, sponsorship information, logo, album title, release date, website, and placement of images were carefully designed. The final promotional cover effectively advertised an album release and encouraged readers to learn more online.
The document describes the process of creating a promotional magazine cover in Adobe InDesign and Photoshop. It discusses selecting fonts and colors, adding elements like the magazine title and masthead, sponsor logos, coverlines describing the album release date and contents, and carefully positioning images to tell a story and draw the reader in. The goal is to showcase skills with design and promote an album releasing on October 10th, tying the cover together into a cohesive and engaging whole.
The document discusses the construction of a music video, including adding various video transitions, effects, and formats. It describes inserting cross dissolve transitions to smoothly merge clips, as well as adding effects like light rays to alter moods. The document shows screenshots of editing the timeline, soundtracks, saving in different formats, and rendering transitions and effects. It concludes that the experience helped develop digital production skills for future career goals.
The document analyzes and summarizes several hip hop album covers, identifying common codes and conventions. It examines covers for albums by Tupac, Eazy-E, Fort Minor, and T.I., describing imagery, colors, typography, and layout. Key findings are that successful covers prominently feature the artist's image, use contrasting colors, include the artist and album names, and sometimes have a PEGI rating. Common elements that attract target audiences are discussed.
The document discusses the phenomenon of "plastic pop" which emerged in the 1950s. Plastic pop refers to the less serious, less emotional genre of pop music where artists are often "one hit wonders" who find success on a music reality show but are unable to sustain long-term careers. While some artists like Leona Lewis and Kelly Clarkson have achieved continued success after reality shows, many winners struggle after their initial promotion. The document also notes criticism of reality shows for how they may negatively impact the pop genre, and identifies a book called "Bubblegum: The History of Plastic Pop" as providing more information on the topic.
The document describes the process of designing a DVD cover using basic tools in Adobe Photoshop. Key steps include:
1. Creating a black background and white border using the box tool and resizing boxes.
2. Adding elements like the title, images, logos and other text elements to follow design conventions.
3. Finishing touches like numbering the spine and adding barcodes to help with retail and prevent piracy.
The end result is a professionally designed DVD cover even though basic tools were used in its creation. Following design codes and placing emphasis on promotion of the artist were prioritized.
The document summarizes the roles and responsibilities of group members in creating a music video. Zeeshan was responsible for ancillary tasks, Zafraan efficiently edited the video, and Judah completed research. They worked collaboratively on planning. The group followed conventions of music videos by including music, clips, and costumes to promote the artist. They developed the narrative and used techniques like camera angles, transitions, and special effects to tell a story and elicit emotions from the audience.
The document discusses conventions used in music magazines and how the creator applied and developed these conventions in their own magazine. Key conventions included using prominent images and quotes on the cover to attract readers, as well as features, exclusives, and a freebie giveaway. The creator aimed to represent the grime/hip-hop genre through stylistic choices like poses, backgrounds, and fashion while making the magazine feel polished and on-trend. Overall, the creator worked to authentically apply genre-specific conventions while putting their own spin on conventions like placement of elements and use of captions.
The document provides details about the roles and responsibilities of group members in creating a music video. It discusses how they used and developed conventions of real music videos, including using movie clips, costumes, actors, and locations to match the chosen music genre. It also describes the narrative structure, camerawork, editing, sound, and other technical aspects used to make the music video effective at promoting the artist.
This PowerPoint contains evidence of the group collaborating in the construction and planning stages prior to the production stage, with each member working at their workstation to plan and research products and some initial work being produced, along with a timetable to organize and maximize their work.
This document summarizes the results of a questionnaire about music video viewing habits. The questionnaire found that most respondents were female, between 18-35 years old and students or unemployed. Most watch music videos daily on YouTube from their computers or TVs. Respondents preferred hip hop and rap genres and narrative music videos that are slow-paced. The results informed the creation of a new music video that meets audience demands like including more actors based on their preferences.
The document summarizes research conducted to determine what type of music magazine would appeal to teenagers and young adults. The research found that the target audience preferred a magazine focused on hip-hop music that included articles on new artists and albums, interviews, and scandals, as well as listings of both latest and all-time hits. The audience also wanted the magazine to advertise concerts and shows and include concert tickets as freebies with fan mail featured.
This document discusses Ferd's plans to support social entrepreneurs through investments of up to NOK 10 million per year. It will focus on projects involving children/youth education and empowerment. Ferd will provide expertise in strategy, business development, finance, and networking. It will prioritize projects that can create measurable impact, be scaled internationally, and where Ferd employees are willing to contribute time. The goal is to have 8-12 ongoing social entrepreneur engagements by 2013 and continually add 1-3 new projects and exit 1-3 projects each year.
This song features Mike Shinoda and other Fort Minor members trading verses where they boast about their rapping skills and abilities. They reference smoking marijuana, drinking alcohol, partying with women, and intimidating other rappers. The lyrics switch between members bragging and a few comedic interludes where they joke about another member getting sick from drinking.
The document describes the process of creating a promotional cover for a magazine using Adobe InDesign and Photoshop. Key elements like the background, sponsorship information, logo, album title, release date, website, and placement of images were carefully designed. The final promotional cover effectively advertised an album release and encouraged readers to learn more online.
The document describes the process of creating a promotional magazine cover in Adobe InDesign and Photoshop. It discusses selecting fonts and colors, adding elements like the magazine title and masthead, sponsor logos, coverlines describing the album release date and contents, and carefully positioning images to tell a story and draw the reader in. The goal is to showcase skills with design and promote an album releasing on October 10th, tying the cover together into a cohesive and engaging whole.
The document discusses the construction of a music video, including adding various video transitions, effects, and formats. It describes inserting cross dissolve transitions to smoothly merge clips, as well as adding effects like light rays to alter moods. The document shows screenshots of editing the timeline, soundtracks, saving in different formats, and rendering transitions and effects. It concludes that the experience helped develop digital production skills for future career goals.
The document analyzes and summarizes several hip hop album covers, identifying common codes and conventions. It examines covers for albums by Tupac, Eazy-E, Fort Minor, and T.I., describing imagery, colors, typography, and layout. Key findings are that successful covers prominently feature the artist's image, use contrasting colors, include the artist and album names, and sometimes have a PEGI rating. Common elements that attract target audiences are discussed.
The document discusses the phenomenon of "plastic pop" which emerged in the 1950s. Plastic pop refers to the less serious, less emotional genre of pop music where artists are often "one hit wonders" who find success on a music reality show but are unable to sustain long-term careers. While some artists like Leona Lewis and Kelly Clarkson have achieved continued success after reality shows, many winners struggle after their initial promotion. The document also notes criticism of reality shows for how they may negatively impact the pop genre, and identifies a book called "Bubblegum: The History of Plastic Pop" as providing more information on the topic.
The document describes the process of designing a DVD cover using basic tools in Adobe Photoshop. Key steps include:
1. Creating a black background and white border using the box tool and resizing boxes.
2. Adding elements like the title, images, logos and other text elements to follow design conventions.
3. Finishing touches like numbering the spine and adding barcodes to help with retail and prevent piracy.
The end result is a professionally designed DVD cover even though basic tools were used in its creation. Following design codes and placing emphasis on promotion of the artist were prioritized.
Merkantilt kompetanseprogram for utkantbutikkar (MERKUR) er eit nasjonalt kompetanseprogram som blir finansiert av Kommunal- og regionaldepartementet.
Programmet skal styrke og utvikle butikkar i distrikta. Dette er viktig for 奪 sikre den lokale folkesetnaden i distrikta tilgang p奪 varer og lokal service i omr奪det der dei bur. Grendebutikken spelar ei n淡kkelrolle i ei slik m奪lsetting.
Lillehammer Kunnskapspark har kj淡rt kurs i sosiale medier for 奪 synliggj淡re hvordan disse kan bidra til 奪 styrke grndebutikken som m淡teplass.
Ildsjeler og lokalt utviklingsarbeidGl淡den, rollen og rammevilk奪rene
Distrikssenteret, kompetansesenter for distriktsutvikling
R奪dgiver John K奪re Olsen
john-kare.olsen@kdu.no
Hjemmeside: distriktssenteret.no
Norsentio og Rune ien etablerte under Oslo Innovation Week et nytt tilskudd til innovasjonsfloraen i Oslo - gjennom HIT. (Hub for Innvation in Telecom). HIT skal v脱re en arena for 奪 koble innovative startups med store telekomselskaper - og dette skal skje i Oslo.
Rune vil dra oss gjennom sine erfaringer som gr端nder i denne industrien i Norge og hvilke l脱rdommer man har trukket rundt hvordan det jobbes med Powercouples og Corporate accelerators her til lands, samt fra innovasjonsmilj淡ene i London og Silicon Valley.
FRAM er Innovasjon Norges landsdekkende ledelsesprogram for sm奪 og mellomstore bedrifter. Programmet er et kompetansetilbud som for utvalgte bedrifter innen bedriftsutvikling, ledelse og strategi og st奪r for: Forst奪tt, Realistisk, Akseptert, M奪lbart (FRAM). Her utvikler deltakerne kunnskap, ferdigheter og evnen til 奪 styrke bedriftenes konkurranseevne og l淡nnsomhet.
De som deltok p奪 kurset var bedriftsledere og n淡kkelpersonale fra ca. 20 bedrifter i Innlandet.
6. Sosiale entrepren淡rer (2)
Bygger organisasjoner eller strukturer som l淡ser
utfordringene og setter nye standarder
7. Sosiale entrepren淡rer (3)
Drives av de sosiale resultatene - men ogs奪 en
finansieringsmodell som gj淡r bedriften levedyktig
8. En god entrepren淡r (gr端nder)
Ser mulighetene, ikke vanskelighetene
Skaper verdier
Reformerer og revolusjonerer
Mobiliserer andres ressurser for 奪 n奪
sine m奪l
Sosial entrepren淡r
Det sosiale m奪let er viktigst
men trenger penger
Et nytt fenomen?
8
9. Sosiale Entrepren淡rer
Gustave Moynier & Henri Dunant (R淡de Kors)
Robert Baden-Powell (Speiderbevegelsen)
Eglantyne Jebb & Dorothy Buxton (Redd Barna)
Maria Montessorri (Ny pedagogikk og skoler for vanskeligstilte barn)
Muhammad Yunus (Grameen Bank, mikrokreditt)
Fredrikke Marie Quam (Norske Kvinners Sanitetsforening)
9
10. Samfunnsbyggere
Helsestasjonene og Norske Kvinners
Sanitetsforening (Fredrikke Marie Quam)
H淡nse-Louisa barnehager
Olav Selvaag - boliger
Frivillig sektor/dugnadsarbeid?
10
11. Noen nyere norske sosiale entrepren淡rer
Natteravnene: Dag Halgard og Gudmund
Johnsen, v/Oslo Politiet
=Oslo: Vibeke Omberg
Gatejuristen: Cathrine Moksness v/Kirkens
Bymisjon og Fransiscushjelpen
Right to Play: Johann Olav Koss
Fretex Frelsesarmeen
Mother Courage: Bitten Schei
Forskerfabrikken Hanne Finstad
11
12. Fra ren idealisme til god profitt
Idealisten (- kr) Realisten (0 kr) Forretningen (+kr) Kapitalisten (++ kr)
FATTIGHUSET
12
13. Hvorfor velger vi sosiale entrepren淡rer?
En ytterligere mulighet for Ferd til 奪 n脱rme seg sin
visjon og etterleve sine verdier
Vi skal skape varige verdier og sette tydelige spor
Ferds menneskelige ressurser og kompetanse kan ha
stor betydning for en sosial entrepren淡r og resultatene
pner nye muligheter, perspektiver og dermed
resultater for oss, samfunnet og eier (ogs奪 kommende)
13
16. Internasjonalt stor aktivitet
Det finnes stadig flere organisasjoner, fond,
stiftelser og studier internasjonalt som
satser p奪 sosiale entrepren淡rer
acumen
FUND
!
lo vende
ge o g
De un
17. Norge verdens beste land 奪 bo i
Men:
700 000 p奪 trygd, st淡nad, i fengsel osv
H淡yt frafall p奪 skolen, spesielt blant gutter
kende andel unge med psykiske problemer,
depresjoner, rus mm.
H淡ye selvmordstall blant unge
kende overvekt
Store levek奪rsforskjeller i storbyene
Mobbing, vold i hjemmet
Nok av utfordringer 奪 ta tak i for 奪 skape endringer!!
18. Ferd sine sosiale entrepren淡rer
St奪r for saker og verdier Ferd vil assosieres med
Retter seg mot barn og unge
Forebyggende
Utviklende
Har potensial til 奪 vokse i Norge og ut i verden
Resultatene m奪 kunne m奪les
19. Hva kan Ferd bidra med?
Som for alt annet vi gj淡r:
Kompetanse
Strategi
Forretningsutvikling
Finans
Nettverk
Lokalt & internasjonal, spesielt N. Europa
God bransjedekning
Privat og offentlig sektor
Kapital
Kompetent krevende kapital
Aktivt eierskap
19
20. Hvorfor Ferd satser p奪 sosiale entrepren淡rer
Lag
spil t
l
over dighe
Tr
VR VISJON
Skape varige verdier og
Eve sette tydelige spor
nt y
rlys
t i ghet
Langsikt
21. Hva kan sosiale entrepren淡rer gi dere?
Drive samfunnet fremover
Slipp l淡s innovasjonene
med nye og bedre l淡sninger
og innovat淡rene !