ƼÇÎÆ÷ÀÎÆ® (Tipping Point)

 

 

 


¾î¶² °ÍÀÌ ±ÕÇüÀ» ±ú°í ÇѼø°£¿¡ ÀüÆÄµÇ´Â ±ØÀûÀÎ ¼ø°£.

Æ÷Äϸó½ºÅÍ, ÇØ¸® Æ÷ÅÍ ½Ã¸®Áî, ½ºÄÉÀÌÆ® º¸µå, ¾Å¾ÅÄ«(űº¸µå) µîÀÇ À¯Çà»Ó ¾Æ´Ï¶ó ±Þ°ÝÇÑ º¯È­¸¦ º¸¿©ÁÖ´Â »çȸÇö»ó,

¿ª»çÀû »ç°Ç µî¿¡µµ ³ªÅ¸³ª´Â Çö»óÀ¸·Î ¼¼ °¡Áö ¹ýÄ¢À» °¡Áö°í ÀÖ´Ù.

ù° ¼Ò¼öÀÇ ¹ýÄ¢Àº ¿­Á¤ÀûÀÌ°í ¿µÇâ·Â ÀÖ´Â ¼Ò¼ö¿¡ ÀÇÇØ ÀüÆÄ°¡ ÀÌ·ç¾îÁø´Ù´Â °Í, (¼Ò¼öÀÇ ¹ýÄ¢)

µÑ° °íÂø¼ºÀº ÀüÇØÁö´Â ¸Þ½ÃÁö°¡ ÈíÀηÂÀ» °®°í À־ »ç¶÷µéÀÇ ±â¾ï ¼Ó¿¡ °íÂøµÇ¾î¾ß ÇൿÀ» º¯ÇÏ°Ô ÇÑ´Ù´Â °Í, (°íÂø¼º ¿ä¼Ò)

¼Â° »óȲÀÇ ÈûÀº ÁÖº¯ÀÇ »óȲÀÌ ¸Â¾Æ¶³¾îÁ®¾ß Àß ÀüÆÄµÉ ¼ö ÀÖ´Ù´Â °ÍÀÌ´Ù. (»óȲÀÇ Èû)
 

Source : http://kbank.nate.com/cmsense/diccm_read.asp?sno=6468


 

 

 

The Tipping Point
How Little Things Can Make a Big Difference

Malcolm Gladwell

 

 

 

 

ƼÇÎÆ÷ÀÎÆ® (Tipping Point)


<¸»ÄÞ ±×·¡µåÀ£>ÀÌ ÁöÀº <ƼÇÎ Æ÷ÀÎÆ®-Tipping Point>¶ó´Â Ã¥ÀÌ ÀÖ½À´Ï´Ù. ¸ÁÇØ°¡´ø <Çã½ÃÆÄÇÇ> ½Å¹ßȸ»çÀÇ ½Å¹ßÀ» ´º¿åÀÇ ¸î¸î È÷ÇÇÁ·µéÀÌ ½Å°í ´Ù´Ï±â ½ÃÀÛÇÏ´õ´Ï ¾î´À ³¯ °©Àڱ⠹̱¹ÀÇ ¹éÈ­Á¡À» ÈÛ¾µ°Ô µÇ¾ú°í, óÀ½ Àα⵵ º°·Î ¾ø¾ú´ø <Á¶¾Ø ·Ñ¸µ>ÀÇ <ÇØ¸®Æ÷ÅÍ>°¡ ¾î´À ¼ø°£ °©Àڱ⠼¼°èÀû º£½ºÆ®¼¿·¯°¡ µÇ¾ú´Âµ¥,ÀÌ¿Í °°ÀÌ Ã³À½¿¡´Â ¹Ì¹ÌÇÏ°Ô ÁøÇàµÇ´Ù°¡ ¾î´À ¼ø°£ ¡®Å¹¡¯Çϰí ÅÍÁö´Â ±ØÁ¡ÀÌ Àִµ¥, ÀÌ ¼ø°£À» °¡¸®ÄѼ­ ƼÇÎ Æ÷ÀÎÆ® ¶ó°í ÇÕ´Ï´Ù.

ÀϺ»ÀÇ <ÈijªÀÌ À¯Å°¿À>°¡ ÁöÀº <100¸¶¸®Â° ¿ø¼þÀÌ>¶ó´Â Ã¥ÀÌ ÀÖ½À´Ï´Ù. ³»¿ëÀÎÁï 1950³â ÀϺ»ÀÇ ¹Ì¾ßÀÚŰ Çö °íÁö¸¶¶ó´Â ¹«Àεµ¿¡ ¿ø¼þÀ̵éÀÌ »ì°í ÀÖ¾ú´Âµ¥, ÁÖ·Î °í±¸¸¶¸¦ ¸Ô°í »ì¾Ò½À´Ï´Ù. ¿ø¼þÀ̵éÀº °í±¸¸¶¸¦ »Ì¾Æ ÈëÀ» ¼ÕÀ¸·Î Åо°í ¸Ô¾ú´Âµ¥ ¾î´À ³¯ ÇÑ»ì ¹ÝÂ¥¸® ÀþÀº ¿ø¼þÀÌ ÇѸ¶¸®°¡ °­¹°¿¡ °í±¸¸¶¸¦ ¾Ä¾î¸Ô±â ½ÃÀÛÇß´Ù´Â °ÍÀÔ´Ï´Ù. ±×·¯ÀÚ ´Ù¸¥ ¿ø¼þÀ̵éÀÌ Çϳª µÑ Èä³» ³»±â ½ÃÀÛÇß°í, ÀÌ °í±¸¸¶¸¦ ¾Ä¾î¸Ô´Â ÇàÀ§°¡ »õ·Î¿î Çൿ¾ç½ÄÀ¸·Î Á¤ÂøµÇ¾ú½À´Ï´Ù. ±×·±µ¥ ³î¶ó¿î ÀÏÀº °íÁö¸¶ ¼¶ ÀÌ¿Ü Áö¿ªÀÇ ¿ø¼þÀÌ »çÀÌ¿¡¼­µµ ¶È°°Àº ÇàÀ§°¡ µ¿½Ã´Ù¹ßÀûÀ¸·Î ³ªÅ¸³µ´Ù´Â °ÍÀÔ´Ï´Ù. ¼­·Î Á¢Ã˵µ, ÀÇ»ç¼ÒÅëµµ ÇÒ ¼ö ¾ø´Â »óȲ¿¡¼­ ¸¶Ä¡ ½ÅÈ£¸¦ º¸³»±â¶óµµ ÇÑ °Íó·³ Á¤º¸°¡ Èê·¯°¡´õ¶ó´Â °ÍÀÔ´Ï´Ù.

¿¬±¸°á°ú, ±× Á¾Á·¿¡ µµ¿òÀÌ µÇ´Â ¾î¶² ¹ßÀüÀÌ ÀϾ¸é, ±×°ÍÀÌ ±× ¹«¸® Àüü¿¡ ÆÛÁö´Âµ¥, ±× ÆÛÁø ¼ö°¡ 100 ¸¶¸®°¡ µÇ¸é, °Å¸®³ª °ø°£¿¡ °ü°è¾øÀÌ Àü Á¾Á·¿¡°Ô ÆÛÁö´õ¶ó´Â °ÍÀÔ´Ï´Ù. ÀÌ Çö»óÀ» °¡¸®ÄÑ <100 ¸¶¸®Â° ¿ø¼þÀÌ Çö»ó>À̶ó°í ÇÕ´Ï´Ù. ±×¸®°í ¸¹Àº µ¿¹°ÇÐÀÚ¿Í ½É¸®ÇÐÀÚ°¡ ¿©·¯ °¡Áö ½ÇÇèÀ» ÇÑ °á°ú, ÀÌ Çм³Àº ¿ø¼þÀÌ »Ó ¾Æ´Ï¶ó Àΰ£À» Æ÷ÇÔÇÑ Æ÷À¯·ù³ª Á¶·ù, °ïÃæ·ù µî¿¡¼­µµ º¼ ¼ö ÀÖ´Â Çö»óÀ̶ó´Â °ÍÀÔ´Ï´Ù.

¼¼»óÀÇ °¡Ä¡°üÀ̳ª ±¸Á¶´Â ¡®±ú´ÞÀº 10%ÀÇ »ç¶÷¡¯¿¡ ÀÇÇØ ¹Ù²ï´Ù°í ÇÕ´Ï´Ù. ±×·¡¼­ ¸ÕÀú 10%ÀÇ »ç¶÷ÀÌ ±ú´Ý°Ô µÇ¸é »çȸ°¡ ¹Ù²î°í, 10%ÀÇ ³ª¶ó°¡ ¹Ù²î¸é ¼¼°è°¡ ¹Ù²î¾îÁö°Ô µÇ´Âµ¥. À̰ÍÀº ½Ã°øÀ» ÃÊ¿ùÇÑ °ø¸íÇö»óÀÌ ÀÛ¿ëÇϱ⠶§¹®À̶ó´Â °ÍÀÔ´Ï´Ù. ±×·¯³ª ±× 10%·Îµµ óÀ½¿¡´Â ÇÑ »ç¶÷À¸·Î ½ÃÀÛÀÌ µÈ´Ù´Â Á¡ÀÔ´Ï´Ù. óÀ½ ÇÑ »ç¶÷ÀÌ ½ÃÀÛÇÒ ¶§´Â ±× È¿°ú°¡ ¾ÆÁÖ ¹Ì¹ÌÇÒ ¼ö ÀÖÀ» °ÍÀÔ´Ï´Ù. ÇÑ »ç¶÷¾¿ ÇÑ »ç¶÷¾¿ ´Ã¾î°£´Ù ÇØµµ 10%°¡ µÇ±â±î Áö´Â ´ä´äÇÒ ¼öµµ ÀÖÀ» °ÍÀÔ´Ï´Ù. ±×·¯³ª 10%¿¡ À̸£±â¸¸ Çϸé À̰ÍÀÌ Æ¼ÇÎ Æ÷ÀÎÆ®°¡ µÉ ¼ö ÀÖ´Ù´Â °ÍÀÔ´Ï´Ù. ¸¶Ä¡ óÀ½¿¡´Â ´ë¼ö·ÓÁö ¾Ê°Ô ºùºù µ¹´ø ¹Ù¶÷ÀÌ ¾î´À ¼ø°£¿¡ °Å´ëÇÑ È¸¿À¸®¹Ù¶÷À¸·Î º¯ÇÏ¿© ÁýÀ» »Ì¾Æ ¿Ã¸®´Â ÈûÀ» °¡Áö°Ô µÇ´Â °Í°ú °°ÀÌ ¸»ÀÔ´Ï´Ù.

¾î´À °øÀåÀåÀÇ À̾߱âÀÔ´Ï´Ù. °øÀåÀÌ ºÒ°áÇÏ¿© ºÒ·®µµ ¸¹ÀÌ ³ª°í, ¼­·Î°¡ ¼­·Î¿¡°Ô ºÒÄ£ÀýÇÑ °ü°è·Î ¾ÈÀü»ç°íµµ ¸¹ÀÌ ¹ß»ýÇß½À´Ï´Ù. °øÀåÀåÀº ǰÁúºÒ·®À» Àâ±â À§Çؼ­ ¿ì¼± °øÀåÀ» û°áÇÏ°Ô ¸¸µé°í, ¾ÈÀü»ç°í¸¦ ÁÙÀ̱â À§Çؼ­ Ä£ÀýÇÏ°í µû¶æÇÑ ºÐÀ§±â·Î ¹Ù²Ù±â·Î °á½ÉÀ» Çß½À´Ï´Ù. ±ú²ýÇÏ°í ¾ÈÀüÇÑ °øÀåÀ» ¸¸µé±â À§ÇØ ±×°¡ ÃëÇÑ Ã¹ ¹øÂ° Á¶Ä¡´Â ¡°Ã»¼Ò¸¦ ÀßÇÏÀÚ, Àλ縦 ÀßÇÏÀÚ¡±¶ó´Â Áö½Ã°¡ ¾Æ´Ï¾ú½À´Ï´Ù.

±×´Â °øÀåÀ» ´Ù´Ï¸é¼­ ÈÞÁö³ª ´ã¹è²ÇÃʰ¡ ÀÖÀ¸¸é ´©±¸º¸´Ù ¸ÕÀú ±×°ÍÀ» ÁÖ¿ü°í, ´©±¸¸¦ ¸¸³ªµç ¸ÕÀú Àλ縦 Çß½À´Ï´Ù. ½Ã°£ÀÌ Áö³¯¼ö·Ï °øÀåÀåÀÇ ÀÌ·¯ÇÑ ÇൿÀº ¼­¼­È÷ ´Ù¸¥ Á÷¿øµé¿¡°Ô Àü´ÞµÇ¾ú½À´Ï´Ù. óÀ½¿¡´Â º°¹Ý È¿°ú°¡ ¾ø´Â °Í °°¾Ò´Âµ¥, ÀÌ ÀÏ¿¡ µ¿ÂüÇÏ´Â Á÷¿øµéÀÇ ¼ýÀÚ°¡ ¾î´À Á¤µµ¿¡ À̸£°Ô µÇÀÚ, ¾î´À ³¯ °©ÀÚ±â, ±×¾ß¸»·Î ¼ø½Ä°£¿¡ °øÀåÀÇ ºÐÀ§±â°¡ ÇѲ¨¹ø¿¡ ¹Ù²î¾î¹ö¸®´õ¶ó´Â °ÍÀÔ´Ï´Ù. ±×¶§ºÎÅÍ °øÀåÀº ±ú²ýÇϰí, Àλç ÀßÇϰí, ºÒ·®Ç° ¾ø°í,! ¾ÈÀü»ç°í ¾ø´Â ¸ð¹ü °øÀåÀÌ µÇ´õ¶ó´Â °ÍÀÔ´Ï´Ù. ±× °øÀåÀåÀº ƼÇÎ Æ÷ÀÎÆ®¸¦ À§ÇÑ Ã¹ ¹øÂ° »ç¶÷À̾úÀ¸¸ç, 100¸¶¸® ¿ø¼þÀÌÀÇ Ã¹ ¹øÂ° ¿ø¼þÀ̰¡ µÇ¾ú´ø °ÍÀÔ´Ï´Ù.

¹«½¼ ÀÏÀ̵çÁö ½ÃÀÛÀÌ ¹Ì¹ÌÇÏ´Ù°í ½Ç¸ÁÇÏÁö ¸»¾Æ¾ß°Ú½À´Ï´Ù. ´ëºÎºÐ »ç¶÷µéÀÌ Æ¼ÇÎ Æ÷ÀÎÆ®¿¡ À̸£±â Àü¿¡ Æ÷±âÇØ¹ö¸°´Ù°í ÇÕ´Ï´Ù. »ç¾÷µµ, °¡Á¤µµ, ÀÚ³àÀÇ Àϵµ Â÷±ÙÂ÷±Ù Àγ»¸¦ °¡Áö°í ¼º½ÇÇÏ°Ô ÇÏ´Ù º¸¸é ƼÇÎ Æ÷ÀÎÆ®¿¡ À̸£°Ô µÉ °ÍÀÔ´Ï´Ù.

°¡Á¤ÀÇ Ãູµµ, »ç¾÷ÀÇ ¼º°øµµ, °³ÀÎÀÇ ¹ßÀüµµ ƼÇÎ Æ÷ÀÎÆ®°¡ ÀÖ½À´Ï´Ù. ¶§°¡ À̸£·¯ µÆ´Ù ÇÏ´Â ±× ¼ø°£ ¸»ÀÔ´Ï´Ù. ±×·¡¼­ ÀÛÀº °ÍÀ» ÀÛ´Ù ÇÏÁö ¾Ê°í, ¼Ò¸Á °¡¿îµ¥ ÃÖ¼±À» ´ÙÇÏ´Â ¸ð½ÀÀÌ ¿ì¸®¿¡°Ô ÀÖ¾úÀ¸¸é ÁÁ°Ú½À´Ï´Ù.

Source : http://blog.naver.com/ilovesea123/140017919668

 

 

 

Links
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Tipping Point


»ç¼ÒÇÑ °ÍÀÌ º®À» Çã¹®´Ù : ƼÇÎ Æ÷ÀÎÆ®ÀÇ Èû

À¯ÇàÀÌ ¹øÁ®°¡´Â ¾î´ÀÁöÁ¡¿¡¼­ ±ØÀûÀ¸·Î Æø¹ßÇÏ´Â ¼ø°£À» Tipping Point¶ó°í ÇÑ´Ù.

Tipping PointÀÇ ¼¼°¡Áö ¹ýÄ¢ :

  1. ¼Ò¼öÀÇ ¹ýÄ¢

  2. °íÂø¼º ¿ä¼Ò

  3. »óȲÀÇ Èû


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ÀÌ¿Í °°Àº ¿ø¸®·Î ºÒȲÀ» ±Øº¹ÇÏ°í ¼ÒºñÀÚ¿¡°Ô °­ÇÑ ¸Þ¼¼Áö¸¦ Àü´Þ...  À̰ÍÀÌ ¹Ù·Î Tipping Point !!
 

Source : http://blog.paran.com/littleprince/5801370

 

 

 

 

 

 

 

»ç¼ÒÇÑ °Í¿¡¼­ ºñ·ÔµÈ ¾öû³­ Â÷ÀÌ (The Tipping Point)


»ç¶÷µé »çÀÌÀÇ À¯ÇàÀ̶õ ¾îµð¼­ºÎÅÍ ½ÃÀ۵ƴÂÁö ¶Ç ¿Ö ±×·¸°Ô À¯ÇàÀÌ µÆ´ÂÁö ÀÌÀ¯µµ ¾Ë±â°¡ ¾î·Æ°Ô ±Þ¼Óµµ·Î ÆÛÁ®³ª°©´Ï´Ù. ÀÌ¿¡ ´ëÇØ Malcolm GladwellÀº ±×ÀÇ Àú¼­ 'The Tipping Point'¿¡¼­ »çȸ¿¡¼­ÀÇ À¯ÇàÀÌ »ç¶÷µé »çÀÌ¿¡¼­ ÆÛÁ®°¡´Â ¹ÙÀÌ·¯½º¿Í °°´Ù°í ÁÖÀåÇϰí ÀÖ½À´Ï´Ù. 'ƼÇÎ Æ÷ÀÎÆ®'¶ó´Â °³³äÀ» ÅëÇØ »çȸÀûÀÎ Æ®·»µå°¡ ±Þ¼ÓÈ÷ ÆÛÁ®³ª°¡´Â Çö»óÀ» Á¶¸íÇÑ ±×ÀÇ ÁÖÀå¿¡¼­ À¯ÇàÀ» ¼±µµÇϱâ À§ÇÑ ¾ÆÀ̵ð¾î¸¦¾òÀ¸½Ã±æ ¹Ù¶ø´Ï´Ù.

1994³â¿¡¼­ 1995³â Ãʹݿ¡ Ç㽬ÆÛÇÇ(Hush Puppies) À¯ÇàÀÌ ½ÃÀ۵Ǿú´Ù. ÀÌÀü¿¡´Â ½Ã°ñÀ̳ª ÀÛÀº ¸¶À»ÀÇ °¡°Ô¿¡¼­ Àϳ⿡ ´ÜÁö ¸î õ °³°¡ ÆÈ¸®´ø °ÍÀÌ °©ÀÛ½º·´°Ô ´º¿åÀÇ ÀÏ·ù µðÀÚÀ̳ʵéÀÇ ÄÝ·º¼Ç¿¡ Æ÷ÇԵǴõ´Ï, 1995³â¿¡ Àڱ׸¶Ä¡ 50¸¸°³ÀÇ Ç㽬ÆÛÇǰ¡ ÆÈ·È´Ù. ±× ´©±¸µµ Ç㽬ÆÛÇǰ¡ ¿Ö ±×·¸°Ô °©ÀÛ½º·± Àα⸦ ¾ò°Ô µÆ´ÂÁö ¾ËÁö ¸øÇÑ´Ù.

Ç㽬ÆÛÇÇÀÇ À¯ÇàÀÌ ½ÃÀ۵ʰú °ÅÀÇ µ¿½Ã¿¡ ´º¿åÀÇ ¹üÁËÀ² Åë°è°¡ ±Þ°ÝÈ÷ ³·¾ÆÁ³´Ù. ´º¿å¿¡ ¾ÈÀüÇÑ Àü¿°º´ÀÌ µ¹±â ½ÃÀÛÇÑ °ÍÀÌ´Ù. Æø·Â, °­µµ, »ìÀÎ µîÀÇ ¹üÁËÀ²ÀÌ Ç㽬ÆÛÇÇÀÇ ÆÇ¸Å°¡ Áõ°¡ÇÏ´Â ¼Óµµ¸¸Å­ ºü¸£°Ô ³·¾ÆÁ³´Ù. ¹üÁË¿Í ÆÐ¼Ç ±×¸®°í À¯ÇàÀº ¼­·Î ÀüÇô °ü°è°¡ ¾ø´Â °Íó·³ º¸ÀÌÁö¸¸, ´ÙÀ½°ú °°Àº °øÅëÀûÀΠƯ¡À» °¡Áö°í ÀÖ´Ù. ±×°ÍÀº Àü¿°¼º, ºü¸¥ ¼Óµµ, »ç¼ÒÇÑ °ÍÀÌ ¾öû³­ °á°úÀÇ Â÷À̸¦ °¡Á®¿Â´Ù´Â Á¡, ÀÌ·¸°Ô ¼¼ °¡ÁöÀÌ´Ù.

Àü¿°º´Àº ±âÇÏÇÐÀûÀ¸·Î ÆÛÁ®°£´Ù. Àü¿°º´Àº Àý´ëÅ©°Ô ½ÃÀÛÇÏÁö ¾Ê´Â´Ù. À̵éÀº ¾ÆÁÖ ÀÛÀº °ÍÀ¸·Î ½ÃÀÛÇØ Á¡Â÷ Ä¿Á®°£´Ù. AIDS È®»êÀÇ ±Ù¿øÀº ´ÜÁö ¸î ¹øÀÇ ¼ºÇàÀ§¿Í Ç÷°üÀ» Â´Â ¹Ù´Ã ¸î °³ÀÌ´Ù. ÀÌó·³ Àü¿°º´Àº¾ÆÁÖ ÀÛÀº °Í¿¡¼­ ºñ·ÔµÇ±â ¶§¹®¿¡ óÀ½¿¡´Â À̸¦ ¹«½ÃÇϱ⠽±´Ù. ±×·¯³ª Àü¿°º´ÀÌ Ä¿Áö±â ½ÃÀÛÇÏ´Â ½ÃÁ¡¿¡ µµ´ÞÇÏ°Ô µÇ¸é ±Þ°ÝÇÑ º¯È­´Â ´Ü¼øÇÑ °¡´É¼ºÀ» ¶Ù¾î³Ñ¾îÈ®½ÇÇÑ »ç½ÇÀÌ µÈ´Ù. ÀÌ¿Í °°Àº ÁöÁ¡À» ¡®±ÕÇüÀÌ ±úÆ®·ÁÁö´Â ÁöÁ¡¡¯ À̶ó´Â ¶æÀ¸·Î ƼÇÎ Æ÷ÀÎÆ®(Tipping Point)¶ó°í ÀÏÄÃÀ¸¸ç, ÀÌ ¸»Àº ¿À·§µ¿¾È À¯ÁöµÇ´Â ÆòÇü»óŰ¡ ±úÁö¸é¼­ µéºÒó·³ ¹øÁ®³ª°¡´Â ±âÁ¡ÀÌÀÚ À¯ÇàÀÇ Á¤Á¡À» ÀÏÄ´´Ù.

Àü¿°º´Àº ¾î¶»°Ô ƼÇÎÆ÷ÀÎÆ®¿¡ µµ´ÞÇÏ°Ô µÉ±î »ý°¢Çغ¸ÀÚ. ¸ðµç Àü¿°º´Àº »ç¶÷°ú Àå¼Ò¿Í º´¿øÃ¼°¡ »óÈ£ÀÛ¿ëÇÏ¿© »ý°Ü³­´Ù. Àü¿°º´¿¡ Áß¿äÇÑ ¿ªÇÒÀ» ÇÏ´Â °ÍÀº °¨¿°À» ÀüÆÄÇÏ´Â »ç¶÷µéÀÌ°í º´À» ÀÏÀ¸Å°´Â º´¿øÃ¼ ÀÚü, ±×¸®°í Àü¿°¼ºÀ» °¡Áø º´¿øÃ¼°¡ Ȱµ¿ÇϰԲû ÇØÁִ ȯ°æÀÌ´Ù. ±×¸®°í ¿ì¸®´Â À̰ÍÀ» »çȸÀûÀÎ È帧¿¡ Àû¿ëÇÒ ¼ö ÀÖ´Ù. ±×°ÍÀÌ ¹Ù·Î '¼Ò¼öÀÇ ¹ýÄ¢','°íÂøÈ­ ¿ä¼Ò¡¯, '»óȲÀÇ Èû' ÀÌ·¸°Ô ¼¼°¡Áö ÀÌ´Ù.

 

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Ä¿³ØÅ͵éÀº ¸î ´Ü°è¸¸ °ÅÄ¡¸é Áö¿ª ³» °ÅÀÇ ¸ðµç »ç¶÷µé°ú ¿¬°áµÉ ¸¸Å­ÀÇ ¹ßÀÌ ³ÐÀº »ç¶÷µéÀ» ÀÏÄ´´Ù.

¸ÞÀ̺ìµéÀº Á¦Ç°°ú °¡°Ý¿¡ ´ëÇÑ Áö½ÄÀ» ÃàÀûÇÑ »ç¶÷µé·Î¼­ ÀÚ½ÅÀÌ °¡Áø Á¤º¸¿Í °æÇèÀ» ´Ù¸¥ »ç¶÷µé¿¡°Ô Àü´ÞÇÔÀ¸·Î½á ÀÔ¼Ò¹®ÀÇ ±Ù¿øÁö°¡ µÈ´Ù. ±×·¯³ª Ä¿³ØÅÍ¿Í ¸ÞÀ̺ìÀº À¯ÇàÀÌ ÆÛÁö´Â °ÍÀ» µµ¿ï ¼ö´Â ÀÖÁö¸¸ ±×µé¸¸À¸·Î ¿ÏÀüÈ÷ ÀÌ·ç¾îÁö´Â °ÍÀº ¾Æ´Ï´Ù. À̵éÀº ´Ù¸¥ »ç¶÷µéÀ» ¼³µæÇÏ´Â ´É·ÂÀ» °®°í ÀÖÁö´Â ¸øÇϹǷΠ»çȸÀûÀÎ Àü¿°À» ÆÛ¶ß¸®´Â °ÍÀ» µµ¿ï ¼ö ÀÖÁö¸¸ À̵鸸À¸·Î À¯ÇàÀ» ÆÛ¶ß¸®±â´Â Èûµé´Ù.

À̵鿡°Ô´Â »ç¶÷À» ¼³µæÇϴµ¥ Ź¿ùÇÑ ´É·ÂÀ» °¡Áø ¼¼ÀÏÁî¸ÇµéÀÌ ÇÊ¿äÇÏ´Ù. ±×µéÀº ´Ù¸¥ »ç¶÷µé¿¡°Ô ¼¼ÀÏÁî¸ÇÀÇ °¨Á¤»óŸ¦ Àü¿°½ÃŰ´Â ÀçÁÖ¸¦ °¡ÁøÀ̵éÀÌ´Ù.



°íÂø¼º ¿ä¼Ò (Stickiness Factor)

°íÂø¼ºÀ̶õ ¾î¶² ¸Þ½ÃÁö¿¡ ÁÖÀǸ¦ ²ø°í À̸¦ ¿À·¡ ±â¾ïµÇµµ·Ï ÇÏ´Â °ÍÀ» ÀǹÌÇÑ´Ù. Sesame StreetÀ̶ó´Â TV ÇÁ·Î±×·¥ÀÇ °³¹ßÀÚ´Â ¾î¸°¾ÆÀ̵éÀÇ Æ÷Ä¿½º ±×·ìÀ» ´ë»óÀ¸·Î ¿¡ÇǼҵåµéÀ» ¸ÕÀú º¸¿©ÁÖ´Â ½ÇÇèÀ» Çß´Ù. ½É¸®ÇÐÀÚµéÀº ¾ÆÀ̵éÀÌ TV¸¦ ÁöÄѺ¼ ¶§, ¶Ç´Â º¸´Ù°¡ °¡¹ö¸± ¶§ ¸ðµÎ¸¦ °üÂûÇÏ¿© ³ëÆ®¿¡ Àû¾ú´Ù. ±×¸®°í À̸¦ ¹ÙÅÁÀ¸·Î °íÂø¼ºÀ» ³ôÀÌ´Â ÇÁ·Î±×·¥À» ¸¸µé¾î³Â´Ù. ¾ÆÀÌµé ´ë»óÀÇ TV ¼îÀÎ Blues Clues´Â °ü°´ÀÇ Âü¿©¿Í ¹Ýº¹ÀÇ ¿ä¼Ò¿¡ ÀÇÇØ °íÂø¼ºÀ» ÀÌ·ï³Â´Ù. ¸ÅÀÏ »õ·Î¿î ¿¡ÇǼҵåµéÀ» ³»³õ´Â ´ë½Å ÀÌ ¼î´Â ÀÏÁÖÀÏ µ¿¾È °°Àº ¿¡ÇǼҵåµéÀ» ¹æ¼ÛÇß´Ù. °íÂø¼ºÀ̶õ ÀÌó·³ ¾î¶² Á¤º¸¸¦ Æ÷ÀåÇÏ´Â ¹æ¹ýÀ» ÅëÇØ Àü´ÞÇϰíÀÚ ÇÏ´Â ¸Þ½ÃÁö¸¦ °ÅºÎÇÒ ¼ö ¾ø°Ô²û ¸¸µå´Â °ÍÀÌ´Ù.



»óȲÀÇ Èû (Power of Context)

Àü¿°º´Àº ½Ã°£°ú Àå¼Ò¿Í °°Àº »óȲ¿¡ »ó´çÈ÷ ¹Î°¨ÇÏ´Ù. ÀÌ¿Í °ü·ÃÇÏ¿© ¹üÁ˹߻ý¿¡ °üÇÑ ¡®±úÁø À¯¸®Ã¢ ÀÌ·Ð(Broken Window Theory)'À» °í·ÁÇØº¸ÀÚ. ÀÌ À̷п¡ µû¸£¸é ±úÁø À¯¸®Ã¢ÀÌ °íÃÄÁöÁö ¾ÊÀº »óÅ·ΠÀÖÀ¸¸é ÀÌ´Â ´©±¸µµ ±×°Í¿¡ °ü¿©ÇÏÁö ¾Ê´Â´Ù´Â ¸Þ½ÃÁö¸¦ Àü´ÞÇÏ´Â È¿°ú°¡ ÀÖ´Ù. µû¶ó¼­ ´õ ¸¹Àº À¯¸®Ã¢ÀÌ ±ú¾îÁö°Ô µÇ°í °á±¹Àº ¹üÁË¿Í ¹«Á¤ºÎ »óŰ¡ Àü¿°µÇ´Ù½ÃÇÇ ÀÌ¿ôÀ¸·Î ÆÛÁ®³ª°¡°Ô µÈ´Ù. ÀÌ·± °æ¿ì ƼÇÎÆ÷ÀÎÆ®´Â Ä¿³ØÅÍ, ¸ÞÀ̺ì, ¼¼ÀÏÁî¸Ç¿¡ ÀÇÇØ¼­°¡ ¾Æ´Ï¶ó ȯ°æÀÇ »óÅ Áï ±ú¾îÁø À¯¸®Ã¢¿¡¼­ ºñ·ÔµÈ´Ù´Â Á¡¿¡ ÁÖ¸ñÇØ¾ß ÇÑ´Ù.

±úÁø À¯¸®Ã¢ ÀÌ·ÐÀÇ °øµ¿ÀúÀÚÀÌÀÚ ¹üÁËÇÐÀÚÀÎ George Keling´Â ´º¿å½ÃÀÇ ÁöÇÏö ¹üÁË ¹®Á¦¸¦ ÇØ°áÇϰíÀÚ º®ÀÇ ³«¼­¿¡ ÃÊÁ¡À» ¸ÂÃß¾ú´Ù. ´ëºÎºÐ Àü¹®°¡µéÀÌ ³«¼­¸¦ ¹«½ÃÇÏ°í º¸´Ù Å« ¹üÁË¿¡ ÁýÁßÇ϶ó°í Çß´ø °Í°ú´Â Â÷À̰¡ ÀÖ¾ú´Ù. ±×·¯³ª KellingÀº ÁöÇÏö Ã¥ÀÓÀÚ David GunnÀ» ¼³µæÇϴµ¥ ¼º°øÇÏ¿© GunnÀº ³«¼­¸¦ Áö¿ì±â À§ÇÑ ½ºÄÉÁìÀ» Àâ°í ³«¼­°¡ ÀÖ´Â ´õ·¯¿î ¿­Â÷´Â ¿îÇàÀ» ÁßÁöÇÒ °ÍÀ» Áö½ÃÇϱ⵵ Çß´Ù. ÁöÇÏö û°áÈ­ ÀÛ¾÷Àº 1984³âºÎÅÍ 1990³â±îÁö Áö¼ÓµÇ¾ú´Ù.

ÀÌÈÄ »õ·Î¿î Ã¥ÀÓÀÚ¸¦ ¸Ã°Ô µÈ William BrattonÀº ÁöÇÏö ¹«ÀÓ½ÂÂ÷ ¹®Á¦¿¡ ÃÊÁ¡À» ¸ÂÃè´Ù. ±× ¶§±îÁö °æÂûÀº ¹«ÀÓ½ÂÂ÷¸¦ °æ¹ÌÇÑ °ÍÀ¸·Î¸¸ ¿©°å´Ù. ±×·¯³ª ¾à 17¸¸ ¸íÀÇ »ç¶÷µéÀÌ ¸ÅÀÏ ¹«ÀÓ ½ÂÂ÷¸¦ Çß°í ¹ýÀº Á¦´ë·Î ÁöÄÑÁöÁö ¾ÊÀ½¿¡ µû¶ó ½ÂÂ÷ ¿ä±ÝÀ» ÁöºÒÇÏ´Â »ç¶÷µéÀº ¹Ùº¸Ã³·³ ¿©°ÜÁö±â ½ÃÀÛÇß´Ù. BrattonÀº ÆÑ½º¿Í ÀüÈ­, Áö¹®Àνıâ¿Í °°Àº ±â±âµéÀ» °®Ãá À̵¿°æÂû¼­ ¹ö½º¸¦ °®ÃçµÎ¸é¼­±îÁö ¹«ÀÓ½ÂÂ÷¿¡ °­·ÂÈ÷ ´ëÀÀÇÒ °ÍÀ̶ó´Â ½ÅÈ£¸¦ º¸³Â´Ù. ±×¸®°í °æÂûµéÀº ¹«ÀÓ ½ÂÂ÷ÀÚµé °¡¿îµ¥¼­ ¼ö¹è ÁßÀÎ ¹üÁËÀÚ³ª ¹«±â ¿î¹ÝÀÚµéÀ» Àâ¾Æ³¾ ¼ö ÀÖ¾ú´Ù. ÀÌÈÄ BrattonÀÌ ´º¿å½ÃÀÇ °æÂûûÀÇ Ã¥ÀÓÀÚ°¡ µÈ ÈÄ »ç¼ÒÇÑ ÆÄ±«ÇàÀ§, ³ë»ó¹æ´¢¿Í °°Àº »ó´ëÀûÀ¸·Î ¹Ì¹ÌÇÑ »ç°Çµé¿¡ ´ëÇÑ ´Ü¼Ó °­È­¸¦ Áö½ÃÇߴµ¥ ÀÌ´Â »ç¼ÒÇÑ ºÒ¹ýÇàÀ§°¡ °­·Â ¹üÁËÀÇ Æ¼ÇÎÆ÷ÀÎÆ®°¡ µÈ´Ù´Â Á¡¿¡ ÁÖÀǸ¦ ±â¿ï¿´±â ¶§¹®ÀÌ´Ù.

 

»ç¼ÒÇÑ Â÷À̰¡ Áß¿ä

ÄÝ·Òºñ¾Æ ´ëÇп¡¼­´Â ¹æ°üÀÚ ¹®Á¦¿¡ °üÇÑ ´ÙÀ½°ú °°Àº ¿¬±¸¸¦ ¼öÇàÇß´Ù. ¾î¶² ¹æ¿¡ °£Áú ȯÀÚÀÎô ¿¬ÃâÀ» ÇÑ ÇлýÀÌ ÀÖ°í ¿·¹æ¿¡¼­ ´Ù¸¥ ÇлýÀÌ ÀÌ ¼Ò¸®¸¦ µéÀ» ¼ö ÀÖ°Ô Çß´Ù. ÀÌ ¶§ ¿ÀÁ÷ ÇѸíÀÇ ÇлýÀÌ ¿·¹æ¿¡ ÀÖÀ» ¶§´Â ±× ÇлýÀÌ µµ¿ÍÁÖ±â À§Çؼ­ µé¾î°¡´Â °æ¿ì°¡ 85%¿¡ À̸¥´Ù. ±×·¯³ª ±× Çлý¿¡°Ô ´Ù¸¥ 4¸íÀÇ »ç¶÷µéµµ À̰ÍÀ» µè°í ÀÖ´Ù°í ÇÏ¸é ¹ÝÀÀ ºñÀ²Àº 31%·Î ¶³¾îÁø´Ù.

¶Ç ´Ù¸¥ ¿¬±¸¿¡ µû¸£¸é »ç¶÷µéÀº È¥ÀÚ ÀÖÀ» ¶§¿Í ÇÔ²² ¸ð¿©ÀÖÀ» ¶§ ¾î¶² °áÁ¤À» ³»¸®´Â °á°ú°¡ ´Þ¶óÁø´Ù. Áý´ÜÀÇ Å©±â°¡ ±× Áý´ÜÀÇ Èû°ú ÀÀÁý·Â¿¡ ¿µÇâÀ» Áִµ¥, ÀÛ°í, ¹ÐÁ¢ÇÏ°Ô °ü·ÃµÈ ±×·ìÀϼö·Ï ¾î¶² ¸Þ½ÃÁö³ª ¾ÆÀ̵ð¾î°¡ Àü¿°µÉ ¼ÒÁö°¡ Ä¿Áö°ÔµÈ´Ù.

ÀÌ·¯ÇÑ ¿¬±¸ °á°ú°¡ ¸¶ÄÉÆÃ ´ã´çÀڵ鿡°Ô ½Ã»çÇÏ´Â Á¡Àº ´ÙÀ½°ú °°´Ù. Áï Àü¿°¼ºÀÌ °­ÇÑ ¾î¶² ¿òÁ÷ÀÓÀ» ¸¸µé¾î ³»±â À§Çؼ­´Â ¿ì¼± ÀÛÀº ³ë·Â°ú Ȱµ¿µéÀ» ¸¹ÀÌ ¸¸µé¾î ³»¾ß ÇÑ´Ù´Â Á¡ÀÌ´Ù. »÷µð¾Ö°íÀÇ ÇÑ °£È£»ç´Â ´ç´¢¿Í À¯¹æ¾Ï¿¡ ´ëÇÑ ÁֺεéÀÇ ÀνÄÀ» ³ôÀ̱â À§ÇØ ±³È¸¿Í °Å¸®·Î ³ª°¡´Â ´ë½Å ¹Ì¿ë½ÇÀ» °ø·«, ¹Ì¿ë»çµéÀ» Ä¿³ØÅͷΠȰ¿ëÇߴµ¥ ±× È¿°ú´Â ¾öû³µ´Ù.

¿¡¾î¿öÅ©(Airwalk) ¿ª½Ã 1993³â ¸ÅÃâ¾×ÀÌ Ãµ 6¹é¸¸ ´Þ·¯¿¡ ºÒ°úÇÑ Æò¹üÇÑ È¸»ç¿´À¸³ª ÀÌÈÄ ±Þ¼ºÀå ÇÏ¿© 1996³â¿¡´Â 1¾ï 7õ¸¸ ´Þ·¯¿¡ ´ÞÇÏ¿´°í Àü¼º±â ¶§ Àü¼¼°è 10´ëµé »çÀÌ¿¡¼­ ½Å¹ß ºê·£µå·Î¼­´Â ³ªÀÌŰ¿Í ¾Æµð´Ù½º ¹Ù·Î ´ÙÀ½ÀÎ ¼¼°è 3À§·Î ¼±Á¤µÇ¾ú´Ù. ÀÌ·¯ÇÑ À̵éÀÇ Æ¼Çο¡´Â ·¥º£½Ã½º(Lambesis) ¶ó´Â ±¤°íȸ»ç°¡ Å©°Ô ±â¿©¸¦ Çß´Ù. À̵éÀº ±¤°í¸¦ ÅëÇØ Çõ½ÅÀÚ¿Í ¼ÒºñÀÚ »çÀÌÀÇ ¸Å°³Ã¼°¡ µÊÀ¸·Î½á À¯ÇàÀ» Ã˹߽Ã۰íÀÚ ÀڽŵéÀÌ Ä¿³ØÅÍ, ¸ÞÀ̺ì, ¼¼ÀÏÁî¸ÇÀÇ ¿ªÇÒÀ» ¼öÇàÇϱâ·Î ÇÑ °ÍÀÌ´Ù.

ÀÌ ±¤°í ȸ»ç´Â À¯ÇàÀÇ ¼±µµÀÚµéÀÌ °©ÀÛ½º·´°Ô ´Þ¶óÀÌ ¶ó¸¶¿¡ ´ëÇØ °ü½ÉÀ» º¸À̰í ÀÖ´Ù´Â °ÍÀ» ÆÄ¾ÇÇϰí ÀÌ¿Í °ü·ÃÇÏ¿© Àç¹ÌÀÖ´Â ±¤°í ÇÑ ÆíÀ» ¸¸µé¾î ³Â´Ù. ÀþÀº ½Â·Á°¡ ±³½ÇÀÇ Ã¥»ó¿¡ ¾É¾Æ ½ÃÇèÀ» º¸°í ÀÖ¾ú´Âµ¥ ÀÌ ½Â·Á´Â ¿¡¾î¿öÅ© ¿îµ¿È­¸¦ ½ÅÀº Àڱ⠹ßÀ» ³»·Á´Ù º¸°í ÀÖ¾ú´Ù. ±×¸®°í ¿îµ¿È­ÀÇ ¿·¸é¿¡´Â Ä¿´× ÆäÀÌÆÛ°¡ ºÙ¿© ÀÖ¾ú´Ù. ÀÌó·³ ½Ã´ë È帧À» ÆÄ¾ÇÇϰí À̸¦ ¹Ý¿µÇÑ À̵éÀÇ Àü·«À» ÅëÇØ ¿¡¾î¿öÅ©´Â ÀþÀº ¼¼´ëµé »çÀÌ¿¡ »õ·Î¿î À¯ÇàÀ» ¸¸µé¾î³Â´Ù.

 

ƼÇÎÆ÷ÀÎÆ®¿¡ ÁýÁß

ÀÚ»ìÀ̳ª ÀÚµ¿Â÷ »ç°í, û¼Ò³â Èí¿¬Àº ¸ðµÎ À¯Çàó·³ Àü¿°µÇ´Â ¾î¶² ¿ä¼ÒµéÀ» °øÀ¯Çϰí ÀÖ´Ù. ÀÚ»ìÀº ´õ ¸¹Àº ÀÚ»ìÀ» À¯µµÇÑ´Ù. ³Î¸® ¾Ë·ÁÁø À¯¸íÀÎÀÇ ÀÚ»ìÀº Àü±¹ÀÇ ÀÚ»ìÀ²À» ³ôÀÌ°Ô µÈ´Ù. ÀÚ»ìÀÌ ³Î¸® ¾Ë·ÁÁö¸é ¶ÇÇÑ ´Ù¸¥ Ä¡¸íÀûÀÎ ÀÚµ¿Â÷ »ç°íµµ µû¶ó Áõ°¡ÇÏ°Ô µÈ´Ù. û¼Ò³â Èí¿¬°ú ¾à¹° ¶ÇÇÑ À¯ÇàÀÇ ¼Ó¼ºÀ» °¡Áö°í ÀÖ´Ù. ¾Æ¸¶µµ À̵é°ú ¸Â¼­´Â °¡Àå È¿°úÀûÀÎ ¹æ¹ýÀº ±¤¹üÀ§ÇÑ Á¤¸é °ø°ÝÀ» ¼öÇàÇÏ´Â ´ë½Å ƼÇÎÆ÷ÀÎÆ®¿¡ ÁýÁßÇÏ´Â °ÍÀÌ´Ù.

»çȸÀû À¯ÇàÀ» ÀÏÀ¸Å°°íÀÚ ÇÏ´Â »ç¶÷µéÀº ÀÔ¼Ò¹®À» ³¾ ¼ö ÀÖ´Â ¼Ò¼ö, Áï Ä¿³ØÅÍ, ¸ÞÀ̺ì, ¼¼ÀÏÁî¸Ç¿¡ ÁýÁßÇØ¾ß ÇÑ´Ù. ±¤¹üÀ§ÇÑ ´ë»óÀ» »ó´ë·Î ÇÑ Ä¿¹Â´ÏÄÉÀ̼ÇÀº ºÐ¸íÇÏÁö ¾Ê°í Á÷Á¢ÀûÀÌÁöµµ ¾Ê±â ¶§¹®ÀÌ´Ù. ¶ÇÇÑ Á¤º¸¸¦ Æ÷ÀåÇÏ´Â ¹æ¹ý¿¡ ¾à°£ÀÇ º¯È­¸¦ ÁÜÀ¸·Î½á ±× Á¤º¸ÀÇ °íÂø¼ºÀ» Å©°Ô ³ôÀÏ ¼ö ÀÖÀ¸¸ç, »óȲÀ» ÀÌÇØÇÏ°í »óȲÀ» °í·ÁÇÑ ÀÛÀº ³ë·ÂÀ» ÅëÇØ Å« ¼º°ú¸¦ ¾ò¾î³¾ ¼ö ÀÖ´Ù.

Source : http://blog.naver.com/sby69?Redirect=Log&logNo=20003516569

 

 

 

 

 

 

 

Tipping Point


tipping point
n.

In epidemiology, the concept that small changes will have little or no effect on a system until a critical mass is reached. Then a further small change "tips" the system and a large effect is observed.  

 

Example Citation:

Epidemics have their own set of rules. Suppose, for example, that one summer a thousand tourists come to Manhattan from Canada carrying an untreatable strain of twenty-four-hour flu. The virus has a two-per-cent infection rate, which is to say that one out of every fifty people who come into close contact with someone carrying it catches the bug himself. Let's say that fifty is also exactly the number of people the average Manhattanite—in the course of riding the subways and mingling with colleagues at work—comes into contact with every day. What we have, then, given the recovery rate, is a disease in equilibrium. Every day, each carrier passes on the virus to a new person. And the next day those thousand newly infected people pass on the virus to another thousand people, so that throughout the rest of the summer and the fall the flu chugs along at a steady but unspectacular clip.

But then comes the Christmas season. The subways and buses get more crowded with tourists and shoppers, and instead of running into an even fifty people a day, the average Manhattanite now has close contact with, say, fifty-five people a day. That may not sound like much of a difference, but for our flu bug it is critical. All of a sudden, one out of every ten people with the virus will pass it on not just to one new person but to two. The thousand carriers run into fifty-five thousand people now, and at a two-per-cent infection rate that translates into eleven hundred new cases the following day. Some of those eleven hundred will also pass on the virus to more than one person, so that by Day Three there are twelve hundred and ten Manhattanites with the flu and by Day Four thirteen hundred and thirty-one, and by the end of the week there are nearly two thousand, and so on up, the figure getting higher every day, until Manhattan has a full-blown flu epidemic on its hands by Christmas Day.

In the language of epidemiologists, fifty is the "tipping point" in this epidemic, the point at which an ordinary and stable phenomenon—a low-level flu outbreak—can turn into a public-health crisis.

Malcolm Gladwell, "The Tipping Point," The New Yorker, June 3, 1996


 

Earliest Citation:

The study also stated that the massive busing in Louisville and Nashville did not necessarily mean that it was beneficial educationally.

"What it does mean is that the countywide solution . . . has kept the proportion of black enrollees in the individual schools at a level below the 'tipping point,' thereby minimizing the outflow of white students," the report concluded.

The Associated Press, November 8, 1977

 

Also:

A H Raskin article on impact that soc welfare programs and Govt allocation of funds to such programs may have on strike activity in working sector in Western democracies. Cites study by Prof Douglas A Hibbs Jr which contends long-term strike trends are shaped largely by pol developments rather than by cultural, sociological or econ factors. Argues that indus conflict drops in rough relationship to success of welfare-state policies in making govt the instrucment for allocating GNP shares. Cautions that tipping point may be reached when state controls more than 50% of natl income.

—"The New York Times," Information Bank Abstracts, December 6, 1976

The study said, however, that cross-district busing is seldom popular. It noted that whites sometimes oppose it, arguing that school boards are caving in to blacks and civil libertarians. Blacks, on the other hand, dislike busing programs because their children do most of the riding.


Source : http://www.wordspy.com/words/tippingpoint.asp

 

 

 

 

 

 

Tipping Point - Net Version

How to Start a Revolution

Paraphrasing the main ideas in Malcolm Gladwell's book

The Tipping Point

 

HappyFeet has made the best effort possible to put these items in some form of coherent order. This book used alot of marketing/business angles. I chose to replace those examples, etc. with art, creativity, and revolution. Use this to make the truth bloom.
 

THE TIPPING POINT IS:

  • That one dramatic moment in an epidemic when everything can change all at once.
  • The moment of critical mass, the threshold, the boiling point, a place where the unexpected becomes expected, where radical change is more than possibility. It is a certainty. Epidemics...
  • Tip b/c of the extraordinary efforts of a few select carriers. But they also sometimes tip when something happens to transform the epidemic agent itself.
    1. Ideas and products and messages and behaviors spread just like viruses do.
    2. Are another example of geometric progression: when a virus spreads through a population, it doubles and doubles again into infinity.
    3. Epidemics are a function of the people who transmit infectious agents, the infectious agent itself, and the environment in which the infectious agent is operating:
      • They (Epidemics) have clear examples of contagious behavior.
      • They both have little changes that make big effects.
      • It takes only the smallest of changes to shatter an epidemic's equilibrium.
      • They happen in a hurry.
  • This is the most important trait, b/c it is the principle that makes sense of the first two and that permits the greatest insight into why modern change happens the way it does.
  • Epidemics involve straightforward simple things; a "product" (I put this in quotes b/c Gladwell writes this book using mostly marketing/business ideas. However, I see it as a way to spark revolution.) and a message.
  • In order to create one contagious movement, you often have to create many small movements first.
  • Contagiousness is in larger part a function of the messenger. Stickiness is primarily a property of the message.

 

 

THE LAW OF THE FEW


There are exceptional people out there who are capable of starting epidemics. All you have to do is find them. With an epidemic, a tiny majority of the people do the work. Once critical factor in epidemics is the nature of the messenger. Messengers make something spread.
Word of mouth is still the most important form of human communication. Rumors are the most contagious of all social messages.
 

   Connectors

  • People with a special gift for bringing the world together, people specialists
  • Know lots of people
  • Have an extraordinary knack of making friends and acquaintances, making social connections.
  • Have mastered the "weak tie"; a friendly, yet casual social connection.
  • Manage to occupy many different worlds and subcultures and niches. By having a foot in so many different worlds, they have the effect of bringing them all together.
  • Acquaintances represent a source of social power, and the more acquaintances you have the more powerful you are.
  • Social glue: they spread the message

  
    Mavens

  • Information specialists
  • Once they figure out how to get that great deal, they want to tell you about it too.
  • Solves his own problems, his own emotional needs, by solving other people's problems.
  • Have knowledge and the social skills to start word-of-mouth epidemics.
  • A teacher and a student
  • In a social epidemic, Mavens are data banks. They provide the message.
      Salespeople
  • Have the skills to persuade when we are unconvinced of what we are hearing.
  • Little things can make as much of a difference as big things.
  • Gives nonverbal clues that are more important than verbal clues.
    1. "Interactional synchrony": human interaction has a rhythmic physical dimension. We dance to each other's speech?we're perfectly in harmony.
    2. Motor mimicry: we imitate each other's emotions as a way of expressing support and caring and, even more basically, as a way of communicating with each other. Emotion is contagious. "Senders" are very good at expressing emotions and feelings. They are far more emotionally contagious than the rest of us.
  • Persuasion often works in ways that we do not appreciate
  • You draw others into your own rhythms and dictate the terms of the interaction.


 

THE STICKINESS FACTOR


There is a simple way to package information that, under the right circumstances, can make it irresistible/sticky and compels a person into action. All you have to do is find it. In order to be capable of sparking epidemics, ideas have to be memorable and move us into action. Content of the message matters too.
 

  1. What is needed is a subtle but significant change in presentation to make most messages stick.
  2. The elements that make an idea sticky turn out to be small and trivial.
  3. "Clutter" has made it harder and harder to get any one message to stick. The information age has created a stickiness problem.
  4. Pay careful attention to the structure and format of your material, and you can dramatically enhance stickiness.
  5. Can tip a message by tinkering, on the margin, with the presentation of their ideas THE POWER OF CONTEXT

We don't necessarily appreciate that our inner states are the result of our outer circumstances. We are more than just sensitive to changes in context. We're exquisitely sensitive to them. And the kinds of contextual changes that are capable of tipping an epidemic are very different than we might ordinarily suspect. The impetus to engage in a certain kind of behavior is not coming from a certain kind of person but from a feature of the environment.
 

  1. Small changes in context can be just as important in tipping epidemics.
  2. An environmental argument.
  3. What really matters is little things
    • "Broken Windows Theory": in a city, relatively minor problems like graffiti, public disorder, and aggressive panhandling, are all the equivalent of broken windows, invitations to more serious crimes (Rudy Gulliani's belief)
  4. An epidemic can be reversed/tipped by tinkering with the smallest details of the immediate environment.
  5. There are specific situations so powerful that they can overwhelm our inherent predispositions.
  6. Human beings invariably make the mistake of overestimating the importance of fundamental character traits and underestimating the importance of the situation and context. We are a lot more attuned to personal cues than contextual cues.
  7. Character is more like a bundle of habits and tendencies and interests, loosely bound together and dependent, at certain times, on circumstances and context.
  8. The convictions of your heart and the actual contents of your thoughts are less important, in the end, in guiding your actions then the immediate context of your behavior.

 

 

THE MAGIC NUMBER 150

"There seems to be some limitation built into us either by learning or by the design of the nervous systems, a limit that keeps our channel capacities in this general range (i.e. the human minds inability to comprehend things beyond sets 7)" ?George Miller "The Magical Number Seven"


"The figure of 150 seems to represent the maximum number of individuals with whom we can have a genuinely social relationship, the kind of relationship that goes with knowing who they are and how they relate to us. Putting it another way, it's the number of people you would not feel embarrassed about joining uninvited for a drink if you happened to bump into them in a bar." ?Robin Dunbar,
 

  1. Even relatively small increases in the size of a group [beyond 150] creates a significant additional social and intellectual burden.
  2. The rule of 150 suggests that the size of a group is another one of those subtle contextual factors that can make a big difference.
  3. Peer pressure is much more powerful than a concept of a boss
  4. Transactive memory: we store information with other people. Since mental energy is limited, we concentrate on what we do best.
  5. Groups of 150 are an organized mechanism that makes it far easier for new ideas and information moving around the organization to tip; to go from one person or one part of the group to the entire group all at once.

 

CONCLUSION

First Lesson of the Tipping Point


Starting epidemics requires concentrating resources on a few key areas. Your resources ought to be solely concentrated on the Connectors, Mavens, and Salesmen.


Second Lesson of the Tipping Point


The world does not accord with our intuition. Those who are successful at creating social epidemics do not just do what they think is right. They deliberately test their intuitions.

 


Important Conclusion!

What must underlie successful epidemics, in the end, is a bedrock belief that change is possible, that people can radically transform their behavior or beliefs in the face of the right kind of impetus. Tipping Points are a reaffirmation of the potential for change and the power of intelligent action. Look at the world around you. It may seem like an immovable, implacable place. It is not. With the slightest push; just in the right place; it can be tipped. NOTES, ETC.


Diffusion model: a detailed, academic way of looking at how a contagious idea or "product" or innovation moves through a population.

  1. Innovators: the adventurous ones. Visionaries.
    • Connectors, mavens, and salesmen make it possible for innovations to connect with the early adopters. They are translators: they make ideas and information from a highly specialized world and translate them into a language the rest of us can understand. They drop extraneous details and exaggerate other details so that the message itself acquires a deeper meaning.
  2. Early adopters: the slightly larger group that is infected by the innovators. Visionaries.
  3. Early Majority: the deliberate and the skeptical mass, who would never try anything until the most respected of this group try it first.
  4. Late Majority
  5. Laggards: the most traditional group that see no urgent reason to change.

 

Source : http://radio.weblogs.com/0107127/stories/2003/01/01/tippingPointNetVersion.html

 

 

 

 

 

 

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Source : http://tong.nate.com/cinelife/6878177

 

 

 

 

   
   

 

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