A series of conferences about climate change were organized few weeks ago by the Perelman centre from the Université Libre de Bruxelles. Here are two observations from François Gemenne:

• Climate refugees are most often treated as if they were victims unable to adapt to the climate changes occurring in their region. They play the role of “canaries in a coal mine”, signalling the rest of the World what is to come. We should instead recognize that emigrating is a legitimate adapting strategy to climate change, and that climate refugees are far from being victims without any capacity to act. Displaced populations are only one aspect of the problem. We need to better understand the conditions that lead to the decision to either stay or leave an affected region.
• More a country is polluting, more it has weight in climate negotiations. Model pupils are not the ones who need to change their behaviour, polluting countries impose their conditions for change.

• Contrary to the widespread belief, brainstorms are more about giving sense to old ideas than discovering new ones.
• Every model is based on assumptions. Paradigms and stereotypes are more abstract models that don’t necessary come with explicit assumptions, which narrows down creativity.
• Creativity is about changing perception. Innovation is about changing things.
• Techniques for workshops:
  • Choose a random organisation having nothing to do with your industry. What is the probability it takes over your business in 10 years? Explain SWOT.
  • Speak about your job without using the most commonly used words to describe it.
  • A paradox is when reality doesn’t follow the model. A new model must then be applied. An ambiguity is when reality can be represented by several models; it is far more common. Creativity is about building new conceptual ‘boxes’ inspired by ambiguities.

Luc de Brabandère is ‘corporate philosopher’ and director at BCG, check out his books here.

• An economy of contribution is an economy where actors contribute without having necessary a measurable counterpart (e.g. money, product). This model is radically different from an economy of exchange and must be taken into account when the externalities underlying an industry become central to its process. In this context, the function of companies is to capture positive externalities.
• An organisation is at the cornerstone of three axes:
  • Patrimony: the former ‘inner’ single reference for a company: legitimacy, expertise, employees…
  • Employability: capacity to inscribe its products and usages in shared values. Employability is related to economical theories of ecosystems in which an organisation is seen as a part of a system, either parasitic or in symbiosis.
  • Interactivity: capacity to adapt to the needs of individuals and communities who will in return support the activities of the organisation. With the rise of social media, brands want to be seen more and more as Customer to Customer ‘CtoC’, like if they were initiated by customers and driven by them.

Mozart: a talent detected in his early childhood

I attended few weeks ago a seminar organised by the Philosophy and Management association in Brussels. It was all about talent, and how the way artists work and manage their career can be a source of inspiration for talent management within business organisations. Pierre-Michel Menger, French philosopher and research director for the CNRS, presented some of his researches in the sociology of work and art. The expertise of Pierre-Michel Menger in both fields led him to very interesting observations.

He first discerned two types of work:

• the ‘labour’: an effort, constraint with a predictable outcome
• the work as a discovery of yourself, the masterpiece of your life. Success in this type of work is more a derivative, not a predefined goal. It is unpredictable.

The later work is influenced by philosophies from the 19th century emphasising the infinite depth of consciousness and the infinite possibilities opened to us. Because of it’s unpredictability, it is a type of work that involves a lot of risks. The prestige and satisfaction you get from the realisation of a masterpiece is immense, but the risk to fail is in equal proportions. Artists are facing this risk in a hyper competitive environment. Differences in revenues between artists is huge, the small number of successful artists take most of the resources, leaving a small portion of revenues to the vast majority. If you look at just the financial situation of an artist, choosing such a career might look like a bad evaluation of the risks. But it doesn’t take into account the non-monetary value of a potential huge gratification, a relative autonomy and the diversity of the tasks involved in the job.

What influences the likelihood to become a successful artist (at least in the narrow sense of social recognition and monetary compensation) is not clear. There is something about artists that cannot be measured, cannot be put in an equation. It is not enough to make studies, work hard and accumulate experiences. You need to have ‘talent’. The same applies to business. Sure, you can find people able to perform a task by looking at their past experiences and by using rational criteria. But how can you detect the collaborators who will go far beyond, surprise you and develop considerably within the company. How can you make sure to invest more in these people and less in the others? McKinsey invented a marketing term to describe the 10% of your employees who will bring the most to the company: ‘talents’. Talent management is controversial and relates to the many meanings of the word ‘talent’.  Pierre-Michel Menger proposes to define talents as people you cannot isolate using predefined criteria or reading their CV. It helps to stick to this definition and to not take into account all the other meanings and judgements that the word ‘talent’ implies. He argues that the only way to detect talents is to compare them between each others. This is why competitions and awards in the art world are so frequent. The jury don’t know themselves what they are looking for, and the outcome is unpredictable.  It is after comparing the contestants that they can see who has a little something more, a higher potential. This is also why I think you start to see more and more contests and game-like workshops in business (hack day for developers, unconferences, Dragon’s Den kind of internal events), to detect talents you could not screen using a formal HR equation.

I think that this approach raises many ethical dilemma.

• On one hand, I want people to judge me on rational criteria that I can understand and act on. It is a system that protects all of us against arbitrary decisions and favouritism. On the other hand, I also want to be judged for who I am and for my talents, independently of any predefined list of criteria.
• Whatever your boss says, it is reassuring to know that he doesn’t judge you but only your work and your performances. With the concept of ‘talent’, suddenly your boss wants to know what you do in your spare time and wants you to reveal yourself, so that he can detect the ‘talent’. It is a much more personal relation. It surely benefits some people, but not necessary everyone. The opposite leads to the same problem but the other way around. You might have a quality that you know could help your career, but an employer looking only at short term figures and performances might not realise it.
• Is it right to invest more in the 10% of ‘talents’ in your company instead of using that money to raise the general level of expertise of the team? To use an example from Pierre-Michel Menger, if a talented researcher wins an award for a paper he wrote, his reputation will get a boost which will convert probably to a higher salary. But the paper he wrote is most likely based on data that ‘average’ workers collected. Is is fair? On the other hand, if there is no incentive for researchers to excel and be noticed, people will stagnate and become demotivated.
• Even small differences between people of the same level in a specific field, like music composition, can generate disproportionate inequalities. If more is invested to a young ‘talent’ who is a little better than the other children of his class, he will quickly gain more experiences and have more chances to explore his talent. He will then have a reputation, which will encourage people who don’t have time or the knowledge in music composition to hire him instead of someone else, which will give him even more experience, and so on. The ‘talented’ person might truly be exceptional, but was it because of his initial tiny competitive advantage or because of the investment from the community? Does it make a difference? Maybe humans are like bees and need an arbitrary hierarchy for their society to work. (Simply accepting this image of the bees is way too sympathetic with established power though.)
• As it has been pointed during the workshop, talent belongs to the category of work that is unpredictable and can be asserted for sure only a posteriori. Is it legitimate to try detecting talents beforehand? This argument is interesting but theoretical.  Of course, people will always try to detect talents, it happens since the beginning of humanity. And even if it is an inexact science, it probably lead to better results for the community than not trying to support its future ‘talents’. Even if it is not always fair for people.

How to resolve the dilemma depends on your vision of society. If you believe that there is a real opportunity for people from all backgrounds to display their talents, then selecting talents by comparing people between each other on non measurable criteria is legitimate. If on the other hand, you perceive the world as being a constant exploitation of the masses by few people in power, every privilege not based on measurable merit is a potential discrimination. Both extremes are false, the world needs both talented artists and hard workers. I personally believe that the key to resolve the dilemma is to offer multiple ways to succeed, in many different ways, with the help of many different groups of people. Diversity lowers the probability of generating systematic discriminations and enables many understandings of what talent means.

If you are preparing an award or competition in your organisation, you need to understand why you the feel the need to do so. If it is at least partially to detect talents, I hope that the points above will help you design the process in accordance to your values and goals. Don’t simply replicate what has already been done, enable participants to show their talents from a difference angle, the winners might not be the ones you expected.

I collaborated with him to prepare the photographs and Polaroids, you can find the details here.

I hope it conveys the message and the exciting mission of the Philosophy and Management association.