Idag finns allt mindre att h辰mta i effektivisering av f旦retagets materiella fl旦den. De stora effektivitetsvinsterna 辰r redan gjorda. Ist辰llet 旦kar betydelsen att hantera f旦retagets kunskapsfl旦den.
Hur bli bra p奪 att l辰ra av kunder och omv辰rld? Hur utveckla toppkunskaper inom sitt unika omr奪de? Hur snabbt skala upp l辰randet i organisationen?
P奪 v奪rt webinar ber辰ttar vi om hur du omvandlar din utbildningsavdelning till att verkligen betyda n奪t f旦r f旦retagets framg奪ng och de anst辰lldas prestationer.
Vi g奪r igenom det ramverk du beh旦ver bygga upp. Hur organisera l辰randet i verksamheten? Hur g奪 fr奪n kurser till l辰rande i arbetet? Hur maximera v辰rdet av det informella l辰randet? Hur skapa en l辰rande kultur? Vilken infrastruktur beh旦ver komma p奪 plats?
Innovationsledaren (Eng.: The Innovation Leader)Eric Thunberg
油
Performed a study on Innovation Leaders, in terms of what they are, what they do, and why. In the team of ten master students we performed interviews and surveys, as well as created a literature framework. The result of the study was then made into a book, called "Innovationsledaren".
V奪r CSR handbok Fr奪n ord till handling 辰r framtagen inf旦r bildandet av f旦reningen CSR V辰stsverige.
Handboken kan med f旦rdel anv辰ndas f旦r diskussioner och utvecklingsarbete i den egna organisationen. Den inneh奪ller en rad exempel p奪 framg奪ngsrikt arbete f旦r samh辰llsansvar. Oftast fr奪n V辰stsverige.
Boken 辰r skriven av sa Helg och Marthe Vakoufari vid Sverige 2000-institutet.
Paradigmo sommarkurs agil utveckling och organisation 2018Sarah Rosendahl
油
Beskrivning av den interaktiva sommarkursen Agil utveckling och organisation 2018, Stockholm. Av Paradigmo Consulting AB i samarbete med Mind & Space AB.
Utveckla din f旦rm奪ga att skapa klara relationer med dina medarbetare, kollegor, partners och kunder! ka din f旦rm奪ga att observera dig sj辰lv och f旦rst奪 dina egna mentala kartor och 旦ka din egen tydlighet inf旦r dig sj辰lv och andra! Tr辰na p奪 att vara n辰rvarande och f奪 andra att k辰nna sig uppriktigt lyssnade p奪 och f旦rst奪dda! Bli b辰ttre p奪 att leda prestation och l辰rande samtidigt!
Andrew Goodwins Theory and Analysis of Music Videoschristieshee
油
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals relate to the music through illustration, amplification, or contradiction. Faster songs use quick cuts while slower songs use longer shots.
2) Narrative and performance - videos need a storyline and performance element to engage viewers. Artists typically act as both performer and narrator.
3) Star image - videos promote the artist as the main subject and increase their profile through close-ups and screen time. Artists develop signature styles of representation.
4) Relation of visuals to song - videos can disjuncture, amplify, or illustrate
The document discusses the impact of the Internet on media. While some argue the Internet has allowed for more democratic participation and sharing of user-generated content, others believe this is an exaggeration. The Internet may have transferred some gatekeeping power to audiences, but mainstream media institutions still largely control the mass media narrative and people primarily use the Internet for entertainment rather than political purposes.
Translation of microarray data into clinically relevant cancer diagnostic tes...Tapan Baral
油
This study aimed to develop a simple and inexpensive diagnostic test to distinguish between malignant pleural mesothelioma (MPM) and lung adenocarcinoma (ADCA) based on gene expression ratios, as current methods can be challenging. The researchers used microarray data from 31 MPM and 150 ADCA samples to identify genes with highly correlated expression levels between the two cancer types. They tested the accuracy of diagnostic ratios formed from combinations of two or three of these genes in differentiating between MPM and ADCA in 149 additional samples. Using two or three gene expression ratios achieved 95% and 99% accurate differential diagnosis, respectively, demonstrating this approach may provide a clinically useful diagnostic tool.
Three young girls are shown happily playing in flashbacks, with the eldest given a necklace by their mother. The flashbacks abruptly end and disturbing noises are heard, implying the girls have been kidnapped. A woman is later shown alone in her home, listening to a sympathetic voicemail. She receives an anonymous letter containing only the necklace from her daughter, suggesting the kidnapper is taunting her. The film title "Purloined" appears, leaving the audience to wonder what the mother and police will do to find the girls now that their kidnapper has made contact.
The document discusses typography research for film opening credits. It provides examples of fonts used in thriller genre opening credits, such as handwritten styles and skewed writing to imply characteristics of the film's people. Letters being quite spaced out or blurry in the credits are mentioned as suggesting gaps in the narrative or different viewpoints. Color themes for opening credits, like white/black/red, are discussed as conveying different emotions or aspects of the narrative, such as red implying evil or blood and black implying mystery or death. Potential typography examples for the film titled "PURLOINED" are presented.
"Who would be the audience for your media product?christieshee
油
The document discusses research conducted to determine the target audience for a psychological thriller film. Primary research in the form of an online survey distributed through social media and email received 79 responses. The results found that the target audience is mostly female, between the ages of 16-50, and prefers psychological thrillers. Common psychological thriller films like The Silence of the Lambs and Black Swan attract similar audiences. Based on this research and conventions of other thriller films, the author determined their film would likely be rated 15+ or 18+ and created an opening sequence aimed at attracting the target audience through relatable British characters and settings, bright lighting, and intriguing musical and sound choices.
Character Profiles and Reece Shots of Locationschristieshee
油
The document provides character profiles for an opening film sequence. It describes the roles and descriptions of 6 characters: Elizabeth Hawley, a mother who has lost her three children; and her children Summer, Millie, and Elsie Hawley who have gone missing. It also includes the roles of Faith and Honey Johnson who portray the eldest and middle child. Finally, it includes the role of Judy Campus, Elizabeth's mother who speaks to her on the phone. It also provides information on three filming locations that will all take place at a house owned by the actress starring as the mother, Lucy Johnson, so no additional consent is required.
Analysing Music Videos - Contextual Researchchristieshee
油
David Bowie's "Life on Mars?" music video from 1971 featured simplistic mise-en-scene against a white backdrop, drawing attention to Bowie's unique costume and makeup that matched the song's lyrics. The cinematography included a variety of shots like mid shots, close ups, and quick cuts, with extreme close ups of Bowie's face and colorful makeup. Through these visual elements, the video highlighted Bowie's star image and artistic style, helping grow his fanbase as it was only his fourth music video.
The document discusses the equipment and planning for filming a music video. It describes using a high quality video camera to capture footage in high definition at 1080p. It also mentions using tripods, memory cards, microphones, and props like a skateboard and trolley to film different scenes and achieve a professional, high quality final product.
The opening scene of Sherlock Holmes uses dark lighting to highlight important characters' faces and emphasize mystery. Costumes and props establish the late 19th century setting. Aerial shots show streets at night, then the camera follows a cart holding two serious-faced men of high status. Fast editing and music create tension as characters rush to an ominous destination.
The opening of Goon features bright lighting replicating a real hockey game. Players are shown in matching team kits with sticks to indicate the opposing sides. While focused on two arguing players, the atmosphere is of an energetic crowd at a busy game.
The Pursuit of Happyness opening summarizes the protagonist's difficult situation through a voiceover while scenes of daily
Andrew Goodwins Theory & Analysis of Music Videoschristieshee
油
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals in a video relate to the music through illustration, amplification, or contradiction. Faster songs typically use quicker cuts while slower songs use longer shots.
2) Narrative and performance - videos tell a story and feature artist performance to engage viewers. Artists are usually the main subject.
3) Star image - videos promote the artist and their development. Artists have signature styles of representation.
4) Relation of visuals to song - visuals can disjuncture, amplify, or illustrate the song's meaning.
5)
1) The opening sequence uses a montage of mysterious close-up shots with ominous music to create tension and mystery about the unidentified character and their suspicious activities.
2) Dark, low-key lighting and a variety of unsettling sounds are used to emphasize the thriller genre and give an uneasy tone.
3) Clues through props of files, papers, and developing photos hint that the character is conducting a secretive investigation, further heightening the audience's anxiety and confusion about the narrative.
This music video for the song "Strong" by London Grammar features a narrative-driven story rather than focusing on the band as performers. It shows a man transforming himself into a human fireworks display for the enjoyment of his daughter. Though the artist is present, they are not the main subject. The slow, calm song is represented through longer shots and fewer cuts compared to faster songs. The video leaves room for interpretation but possibly illustrates the theme of parental sacrifice and love. Technical elements like lighting, effects and setting are used to create atmosphere and emphasize the relationship between the man and his daughter.
Innovationsledaren (Eng.: The Innovation Leader)Eric Thunberg
油
Performed a study on Innovation Leaders, in terms of what they are, what they do, and why. In the team of ten master students we performed interviews and surveys, as well as created a literature framework. The result of the study was then made into a book, called "Innovationsledaren".
V奪r CSR handbok Fr奪n ord till handling 辰r framtagen inf旦r bildandet av f旦reningen CSR V辰stsverige.
Handboken kan med f旦rdel anv辰ndas f旦r diskussioner och utvecklingsarbete i den egna organisationen. Den inneh奪ller en rad exempel p奪 framg奪ngsrikt arbete f旦r samh辰llsansvar. Oftast fr奪n V辰stsverige.
Boken 辰r skriven av sa Helg och Marthe Vakoufari vid Sverige 2000-institutet.
Paradigmo sommarkurs agil utveckling och organisation 2018Sarah Rosendahl
油
Beskrivning av den interaktiva sommarkursen Agil utveckling och organisation 2018, Stockholm. Av Paradigmo Consulting AB i samarbete med Mind & Space AB.
Utveckla din f旦rm奪ga att skapa klara relationer med dina medarbetare, kollegor, partners och kunder! ka din f旦rm奪ga att observera dig sj辰lv och f旦rst奪 dina egna mentala kartor och 旦ka din egen tydlighet inf旦r dig sj辰lv och andra! Tr辰na p奪 att vara n辰rvarande och f奪 andra att k辰nna sig uppriktigt lyssnade p奪 och f旦rst奪dda! Bli b辰ttre p奪 att leda prestation och l辰rande samtidigt!
Andrew Goodwins Theory and Analysis of Music Videoschristieshee
油
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals relate to the music through illustration, amplification, or contradiction. Faster songs use quick cuts while slower songs use longer shots.
2) Narrative and performance - videos need a storyline and performance element to engage viewers. Artists typically act as both performer and narrator.
3) Star image - videos promote the artist as the main subject and increase their profile through close-ups and screen time. Artists develop signature styles of representation.
4) Relation of visuals to song - videos can disjuncture, amplify, or illustrate
The document discusses the impact of the Internet on media. While some argue the Internet has allowed for more democratic participation and sharing of user-generated content, others believe this is an exaggeration. The Internet may have transferred some gatekeeping power to audiences, but mainstream media institutions still largely control the mass media narrative and people primarily use the Internet for entertainment rather than political purposes.
Translation of microarray data into clinically relevant cancer diagnostic tes...Tapan Baral
油
This study aimed to develop a simple and inexpensive diagnostic test to distinguish between malignant pleural mesothelioma (MPM) and lung adenocarcinoma (ADCA) based on gene expression ratios, as current methods can be challenging. The researchers used microarray data from 31 MPM and 150 ADCA samples to identify genes with highly correlated expression levels between the two cancer types. They tested the accuracy of diagnostic ratios formed from combinations of two or three of these genes in differentiating between MPM and ADCA in 149 additional samples. Using two or three gene expression ratios achieved 95% and 99% accurate differential diagnosis, respectively, demonstrating this approach may provide a clinically useful diagnostic tool.
Three young girls are shown happily playing in flashbacks, with the eldest given a necklace by their mother. The flashbacks abruptly end and disturbing noises are heard, implying the girls have been kidnapped. A woman is later shown alone in her home, listening to a sympathetic voicemail. She receives an anonymous letter containing only the necklace from her daughter, suggesting the kidnapper is taunting her. The film title "Purloined" appears, leaving the audience to wonder what the mother and police will do to find the girls now that their kidnapper has made contact.
The document discusses typography research for film opening credits. It provides examples of fonts used in thriller genre opening credits, such as handwritten styles and skewed writing to imply characteristics of the film's people. Letters being quite spaced out or blurry in the credits are mentioned as suggesting gaps in the narrative or different viewpoints. Color themes for opening credits, like white/black/red, are discussed as conveying different emotions or aspects of the narrative, such as red implying evil or blood and black implying mystery or death. Potential typography examples for the film titled "PURLOINED" are presented.
"Who would be the audience for your media product?christieshee
油
The document discusses research conducted to determine the target audience for a psychological thriller film. Primary research in the form of an online survey distributed through social media and email received 79 responses. The results found that the target audience is mostly female, between the ages of 16-50, and prefers psychological thrillers. Common psychological thriller films like The Silence of the Lambs and Black Swan attract similar audiences. Based on this research and conventions of other thriller films, the author determined their film would likely be rated 15+ or 18+ and created an opening sequence aimed at attracting the target audience through relatable British characters and settings, bright lighting, and intriguing musical and sound choices.
Character Profiles and Reece Shots of Locationschristieshee
油
The document provides character profiles for an opening film sequence. It describes the roles and descriptions of 6 characters: Elizabeth Hawley, a mother who has lost her three children; and her children Summer, Millie, and Elsie Hawley who have gone missing. It also includes the roles of Faith and Honey Johnson who portray the eldest and middle child. Finally, it includes the role of Judy Campus, Elizabeth's mother who speaks to her on the phone. It also provides information on three filming locations that will all take place at a house owned by the actress starring as the mother, Lucy Johnson, so no additional consent is required.
Analysing Music Videos - Contextual Researchchristieshee
油
David Bowie's "Life on Mars?" music video from 1971 featured simplistic mise-en-scene against a white backdrop, drawing attention to Bowie's unique costume and makeup that matched the song's lyrics. The cinematography included a variety of shots like mid shots, close ups, and quick cuts, with extreme close ups of Bowie's face and colorful makeup. Through these visual elements, the video highlighted Bowie's star image and artistic style, helping grow his fanbase as it was only his fourth music video.
The document discusses the equipment and planning for filming a music video. It describes using a high quality video camera to capture footage in high definition at 1080p. It also mentions using tripods, memory cards, microphones, and props like a skateboard and trolley to film different scenes and achieve a professional, high quality final product.
The opening scene of Sherlock Holmes uses dark lighting to highlight important characters' faces and emphasize mystery. Costumes and props establish the late 19th century setting. Aerial shots show streets at night, then the camera follows a cart holding two serious-faced men of high status. Fast editing and music create tension as characters rush to an ominous destination.
The opening of Goon features bright lighting replicating a real hockey game. Players are shown in matching team kits with sticks to indicate the opposing sides. While focused on two arguing players, the atmosphere is of an energetic crowd at a busy game.
The Pursuit of Happyness opening summarizes the protagonist's difficult situation through a voiceover while scenes of daily
Andrew Goodwins Theory & Analysis of Music Videoschristieshee
油
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals in a video relate to the music through illustration, amplification, or contradiction. Faster songs typically use quicker cuts while slower songs use longer shots.
2) Narrative and performance - videos tell a story and feature artist performance to engage viewers. Artists are usually the main subject.
3) Star image - videos promote the artist and their development. Artists have signature styles of representation.
4) Relation of visuals to song - visuals can disjuncture, amplify, or illustrate the song's meaning.
5)
1) The opening sequence uses a montage of mysterious close-up shots with ominous music to create tension and mystery about the unidentified character and their suspicious activities.
2) Dark, low-key lighting and a variety of unsettling sounds are used to emphasize the thriller genre and give an uneasy tone.
3) Clues through props of files, papers, and developing photos hint that the character is conducting a secretive investigation, further heightening the audience's anxiety and confusion about the narrative.
This music video for the song "Strong" by London Grammar features a narrative-driven story rather than focusing on the band as performers. It shows a man transforming himself into a human fireworks display for the enjoyment of his daughter. Though the artist is present, they are not the main subject. The slow, calm song is represented through longer shots and fewer cuts compared to faster songs. The video leaves room for interpretation but possibly illustrates the theme of parental sacrifice and love. Technical elements like lighting, effects and setting are used to create atmosphere and emphasize the relationship between the man and his daughter.
Ge arbetsgivaren en enkel metodik f旦r att kartl辰gga och utarbeta en kompetensprofil med fokus p奪 arbetsuppgifter som 辰r knutna till rollen och vilka kompetenser som beh旦vs f旦r att utf旦ra uppgifterna.
Tillhandah奪lla metoder och st旦dmaterial som g旦r det m旦jligt att ta fram en organisationsplan som visar vilka specialistomr奪den som beh旦vs och vilka uppgifter som kan utf旦ras med andra kompetenser.
St旦dja definitionen av verksamhetens k辰rnuppdrag och vilka kompetenser som beh旦vs f旦r att utf旦ra det.
Frontit seminarium: Verksamhetsutveckling fr奪n strategi till effektFrontit
油
All forskning visar att f旦retag och organisationer inte klarar av att implementera sin strategi i tillr辰ckligt stor utstr辰ckning. Frontits VD Anneli Angeling ber辰ttar om VU-modellen (Verksamhetsutveckling) en modell som kombinerar struktur och systematik med energi och kreativitet. Arbetss辰ttet involverar hela f旦retaget i utvecklingen att 旦ka effektiviteten och skapar resultat p奪 b奪de kort och l奪ng sikt.
H辰r 辰r r奪den som ger dina projekt verksamhetsnytta. Henrik Bagewitz, marknads- och kommunikationschef f旦r intresseorganisationen PMI i Sverige ger sina fr辰msta tips f旦r att lyckas med din projektverksamhet.
H辰r 辰r r奪den som ger dina projekt verksamhetsnytta. Henrik Bagewitz, marknads- och kommunikationschef f旦r intresseorganisationen PMI i Sverige ger sina fr辰msta tips f旦r att lyckas med din projektverksamhet.
1. 10 | PERSONAL&LEDARSKAP #11 2015
I PRAKTIKEN損
Teamet i fokus
St旦rre r旦rlighet, otydliga gr辰nser och st旦rre avst奪nd b奪de geogra鍖skt
och kulturellt. Att arbeta i team blir allt vanligare och samtidigt mer komplext.
Ikea har tagit ett grepp om teamutvecklingsarbetet med en metodik och en
ny guidebok, som vilar p奪 vetenskaplig grund.
TEXT OCH FOTO JENNY SKLD
3. 12 | PERSONAL&LEDARSKAP #11 2015
I PRAKTIKEN損
D
et b旦rjade med ett m旦te
om teamutveckling. D辰r
tr辰ffade Ikeas ledarskaps-
utvecklare Mette Sandahl
och Mattias Wihlborg
organisationspsykologen Maria ker-
lund och Christian Jacobsson, lektor
vid psykologiska institutionen vid
G旦teborgs universitet. M旦tet skulle
l辰gga grunden till en ny teamutveck-
lingsstrategi som nu ska rullas ut p奪
Ikeas alla 27 marknader. M奪let 辰r att
medarbetare och ledare ska anv辰nda
denna kunskap som en naturlig del i
deras dagliga arbete.
I dag kan kvartetten visa upp det
fysiska resultatet av samarbetet en
tryckt guidebok till hur Ikea globalt
fr奪n och med nu ska arbeta med team-
utveckling.
Att gifta samman det akademis-
ka, som Maria och Christian st奪r f旦r,
med v奪r l奪nga erfarenhet av att jobba
praktiskt med team tror jag 辰r unikt.
Det har ocks奪 varit viktigt f旦r oss att
g旦ra kunskapen till v奪r egen och utg奪
fr奪n v奪ra v辰rderingar inom Ikea, s辰ger
Mette Sandahl och Mattias Wihlborg.
Ikea har en l奪ng tradition av att
arbeta i team inom alla olika delar av
verksamheten. Det har naturligtvis
funnits metoder f旦r att utveckla och
st旦tta teamen inom f旦retaget, men det
har inte funnits n奪gon gemensam id辿
om hur det ska g旦ras, och som varit
skr辰ddarsydd f旦r just deras behov och
f旦retagskultur.
Att g旦ra tillsammans 辰r en s奪dan
v辰rdering som 辰r l辰tt att koppla till
teamarbete enligt Mattias Wihlborg:
Tidigare har vi haft individen i
fokus. Nu v辰nder vi p奪 det och s辰tter
fokus p奪 teamet, eller k旦ren. Vi ska
forts辰tta att utveckla v奪ra fantastiska
s奪ngare v奪ra ledare men vi ska
l辰gga till att utveckla k旦ren, s奪 att de
kommer in r辰tt och tajmar varandra.
Ibland 辰r det n奪gon som st奪r framf旦r
k旦ren och sjunger ett solo. Sedan tr辰-
der den personen tillbaka. Det 辰r detta
som 辰r det nya komplexiteten i att
vara tillsammans som en enhet.
EN ANNAN BRANDE del i Ikeas v辰rde-
grund 辰r att g旦ra sj辰lv. I st辰llet f旦r
att k旦pa in tj辰nsten av externa kon-
sulter f旦ll det sig d辰rf旦r naturligt att
utbilda faciliatorer fr奪n olika enheter
internt som ska kan st旦tta teamen i
utvecklingsarbetet. I en organisation
med 150 000 medarbetare kr辰vs det
dessutom att metodiken och arbets-
s辰ttet g奪r att implementera och sprida
rent praktiskt.
Vi vill 辰ga den kunskapen sj辰lva
s奪 att den f奪r ett eget liv inom Ikea.
Det 辰r s奪 vi tror att vi utvecklar v奪r
organisation b辰st. Den f奪r d奪 ett mer-
v辰rde, den passar in hos oss och den
kommer att f奪 ett f辰ste i v奪r organisa-
tion som en naturlig del i hur vi job-
bar, s辰ger Mette och Mattias.
I dag 鍖nns omkring 100 per-
soner runt om i Ikea-v辰rlden som
har utbildats i den nya metoden f旦r
teamutveckling. Deras roll 辰r fr辰mst
att dela med sig av kunskapen om
teamutveckling och att intervenera s奪
att teamen l辰r sig att sj辰lva arbeta med
sin process.
En del av dessa har g奪tt utbild-
ningen facilitator training med
Mattias Wihlborg och Mette Sandahl
som kursledare. Kravet f旦r att delta i
utbildningen 辰r erfarenhet av att jobba
med utvecklingsprocesser i team, samt
egen erfarenhet av att ing奪 i ett team.
Utbildningsmaterialet kan man
s辰ga 辰r inneh奪llet i guideboken, en
blandning av praktik och teori.
En mindre del har g奪tt en utbild-
ning i GDQ, som h奪lls av Maria ker-
lund och Christian Jacobsson. Delta-
garna p奪 denna lite mer omfattande
utbildning har alla med sig m奪ng奪rig
erfarenhet av att jobba med lednings-
grupputveckling.
GDQ STR FR GROUP Development
Questionnaire och har utarbetats av
den amerikanska forskaren Susan
Ikeas Mattias Wihlborg j辰mf旦r teamutveckling-
en med en k旦r. B奪de solos奪ngarna och k旦ren
ska utvecklas, men de m奪ste komma in r辰tt och
tajma varandra.
4. #11 2015 PERSONAL&LEDARSKAP | 13
TEAMENS FYRA
UTVECKLINGSFASER損
1. Tillh旦righet och trygghet. Medlem-
marna 辰r f旦rsiktiga och artiga. Vill
inte ta initiativ utan v辰ntar in ledaren.
2. Opposition och kon鍖ikt. Medlem-
marna v奪gar utmana och ta kon鍖ikt.
Det kan ocks奪 bli 旦ppen konkurrens
och syndabocksletande.
3. Tillit och struktur. Kon鍖ikterna 辰r
l旦sta. Medlemmarna till奪ter olikheter
och fokuserar p奪 m奪let.
4. Effektivitet och produktivitet.
Medlemmarna lyssnar p奪 varandra.
M奪l och roller 辰r klara och teamet
kan helt och h奪llet fokusera p奪 sitt
uppdrag.
Mette Sandahl utbildar tillsammans med Mattias Wihlborg Ikeas facilatorer. Samt st旦ttar dem s奪 att
de kan utveckla andra.
Wheelan, vid Temple University i Phi-
ladelphia. Metoden 辰r central f旦r det
nya s辰ttet att utveckla team inom Ikea.
Den beskrivs enklast som ett verktyg
f旦r att m辰ta i vilken fas grupper be鍖n-
ner sig i grupputvecklingsprocessen,
och vilka fr奪gor som de b旦r fokusera
p奪 f旦r att komma vidare.
Maria kerlund och Christian
Jacobsson 辰ger tillsammans f旦retaget
GDQ Associates, som 辰ger GDQ, vil-
ket inneb辰r att de certi鍖erar anv辰ndare
dels genom egna kurser, dels genom
andra utbildare. De som g奪r utbild-
ningen f奪r sedan r辰tt att anv辰nda
metoden p奪 de grupper de jobbar med
att utveckla.
I GRUNDEN FINNS teorin om de fyra ut-
vecklingsfaserna och de processer som
l旦per genom alla faser. F旦rsta fasen
pr辰glas av f旦rsiktighet, vi 辰r artiga och
旦verl奪ter g辰rna 奪t n奪gon annan att ta
ledarskapet. I andra fasen b旦rjar vi
ifr奪gas辰tta och s旦ka kon鍖ikt. I tredje
fasen hittar gruppen sin gemensamma
plattform och tryggheten i den. I den
sista och optimala utvecklingsfasen be-
h旦ver medlemmarna inte l辰ngre l辰gga
fokus p奪 det sociala spelet utan helt
5. 14 | PERSONAL&LEDARSKAP #11 2015
I PRAKTIKEN損
och h奪llet 辰gna sig 奪t uppgiften och att
n奪 sitt gemensamma m奪l.
Forskning har visat att det 鍖nns
en koppling mellan gruppers olika fa-
ser och f旦retagets ekonomiska resultat.
Det vill s辰ga att de mest framg奪ngsrika
f旦retagen ocks奪 har en h旦gre andel
team som kommit l奪ngt i sin utveck-
ling, s辰ger Maria kerlund.
損Forskning har visat att
det 鍖nns en koppling
mellan gruppers olika
faser och f旦retagets
ekonomiska resultat.束
MARIA KERLUND,
ORGANISATIONSPSYKOLOG
I PRAKTIKEN損
6. #11 2015 PERSONAL&LEDARSKAP | 15
Men det 鍖nns ocks奪 mjukare
v辰rden, som mindre stress och b辰ttre
psykisk h辰lsa hos gruppens medlem-
mar. Christian Jacobsson har i en
studie fr奪n 2014 (The Links Between
Group Development and Health
in Manufacturing Industry) kun-
nat visa att medlemmar i team som
enligt GDQ-testet 辰r mer utvecklade
upplevde mindre stress och ocks奪 hade
f辰rre sjukskrivningsdagar.
I TAKT MED ATT utbildningarna l旦per p奪,
pumpas ocks奪 kunskaperna ut i Ikeas
globala blodomlopp.
Ett stort jobb f旦r oss 辰r att st旦tta
de facilatorer som ska tr辰na andra.
N辰r de 奪terv辰nder till sina enheter f奪r
de en massa fr奪gor och funderingar
kring sin roll som handledare. Det 辰r
viktigt att vi st旦ttar v奪ra medarbetare
i detta s奪 att satsningen f奪r ett eget liv
i organisationen, utan att den tappar i
kvalitet, s辰ger Mette Sandahl.
De som g奪tt GDQ-utbildningen hos
Maria och Christian har f旦rbundit sig
att l辰gga 510 procent av sin arbetstid
p奪 att utbilda ledningsgrupper internt
inom f旦retaget.
N S LNGE FINNS ingen gr辰ns f旦r hur
m奪nga utbildningar som kommer
att h奪llas. Det beror p奪 intresse och
behov. Och intresse r奪der det ingen
brist p奪 辰n s奪 l辰nge, enligt Mattias
Wihlborg:
Vi har m辰rkt att ju 鍖er utbildning-
ar vi h奪ller desto st旦rre blir trycket. Vi
kan inte s辰ga hur m奪nga utbildningar
vi kommer att h奪lla, men m奪let 辰r att
ge utbildningen och teamutvecklingen
ett eget liv i organisationen. Vi har p奪-
b旦rjat en resa som inte har n奪got slut,
som vi ser det.
Christian Jacobsson har i en studie visat att
teammedlemmar som 辰r mer utvecklade enligt
GDQ ocks奪 upplever mindre stress och 辰r
mindre sjukskrivna.