20 things You should never say to a Graphic

the high iq society
media internal mensa indonesia
04
20 Things You Should
Never Say to a Graphic
Designer
09 Usaha bunuh diri mungkin bisa dicegah
14 Eiffel, Here I come!
Image courtesy of: startup stock
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MInd
Edisi #03 2015
Edisi #03 2015
daftar isi
MInd
03
editor’s note
Tim Redaksi MInd
05
06
11
Formasi Geologi Pulau Bali
Tulisan lanjutan Pak Nurseto
yang merupakan rangkaian dari
artikel Oleh-oleh dari Bali.
GO - The Art of Strategy
Membahas dan
meperkenalkan permainan
GO, sebuah permainan yang
mengandalkan strategi.
Is this the brainiest
child in Britain?
Sebuah artikel yang
menceritakan tentang anak
jenius dari Inggris yang
bernama Shrindi Prakash.
k n ow l e d g e
c ov e r s t o r y
Greetings!
06
profile
Selain itu, dalam edisi ini pula kami menyampaikan undangan dari Panitia
Asian Mensa Gathering 2015 dari rekan-rekan mensa di Korea. Surat
undangan resmi kami muat dalam salah satu halaman pada edisi MInd kali
ini. Salah satu mensan, yaiyu Yosie, juga telah menuliskan sebuah artikel
yang mengajak rekan-rekan mensan sekalian untuk turut berpartisipasi
dalam kegiatan Asian Mensa Gathering 2015 di Korea tahun ini.
15
16
Identity Crisis: Are
You really YOU?
Sebuah tulisan dari
David Riswanto.
Courage and Forgiveness
in Social Dancing
Artikel dari Budi Waskita
ini membahas satu sisi
dari Social Dancing.
life
Dalam edisi MInd kali ini kami memuat cerita fiksi yang ditulis oleh salah
satu mensan, yaitu Dewo. Cerita fiksi ini akan dibagi menjadi dua bagian
yang terpisah dalam edisi yang berbeda. Untuk mensan lain yang memiliki
tulisan cerita fiksi juga bisa mengirimkan tulisannya ke tim redaksi melalui
email yang tercantum di bawah pada bagian submission guidelines.
social
Kami dari tim redaksi kembali menanti kiriman-kiriman tulisan
serta saran, kritik, dan masukan dari rekan-rekan sekalian demi
menyampaikan MInd yang bermanfaat bagi rekan-rekan mensan semua.
Selamat membaca!
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19
environment
11
Danau di Puncak Dunia
Busam re nimil et ini offic totate
sim re volorum del is mollam
quod quosam, od untur? Tur
aut unt omnis coritisquam
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21
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What is Behind the
Roaming Zombie Insects
in Search for Water?
Busam re nimil et ini offic totate
sim re volorum del is mollam
quod quosam, od untur? Tur
aut unt omnis coritisquam
Hygiene hypothesis:
antara bersih dan kotor
Busam re nimil et ini offic totate
sim re volorum del is mollam
quod quosam, od untur? Tur
aut unt omnis coritisquam
The Age of Cryptocurrency
Busam re nimil et ini offic totate
sim re volorum del is mollam
quod quosam, od untur? Tur
aut unt omnis coritisquam
Mystery Riddle
Perspell aborionetus periorere
quo dit as dit, ut vendant
science
health
book review
quiz
media internal mensa indonesia
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knowledge
MInd
bertemu saudara sepupu
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of mensa indonesia
oleh-oleh dari bali bagian tiga
Oleh: Nurseto Ardiputranto
the high iq society
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Thomas Hanan Thoha (52144),
+6281383390150,
[email protected]
vice chairman and
legal director
Ferial Fahmi Kadir (52126),
+62818131304,
BB 22aa16e0,
[email protected]
director admin
Muhamad A. Martoprawiro (52007),
+6281221222424,
[email protected]
director organizational
development
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+6281510676188, BB 214d7cd,
[email protected]
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development
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BB 21cc56da,
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treasurer
Anne K. Adijuwono (80041),
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psychologist
Rismawati Silaban
+62818760173,
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sight coordinator
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sig coordinator
SIG Business Management:
Bayu Prawira Hie
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Mensa is an international society in which
the sole requirement for qualification
for membership is a score at or above
the 98th percentile on any of a number
of standardized intelligence test. Mensa
is not-for-profit organization whose
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Sahat Simarmata (52039)
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bandung area coordinator
Muhamad A. Martoprawiro (52007),
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[email protected]
bank account number
BCA 467.137.913.1
a.n. Anne Kurniawati Adijuwono
“Mensa’s purposes are to identify and
foster human intelligence for the benefit
of humanity; to encourage research in
the nature, characteristics, and uses of
intelligence; and to provide a stimulating
intellectual and social environment for its
members.”
J
am 5.30 kami sudah
bengun tidur dan
berkemas menuju
ke Pantai. Jam 6.oo
perahu melaju ke arah barat
meninggalkan pantai Lovina.
Setelah menempuh 10 km,
perahu berhenti. Jarak terdekat
ke daratan masih 5 km.
Ada sekitar 100 an perahu
yang sama di sana. Masing2
memuat rata rata 5 orang.
Dibandingkan 10 tahun yg
lalu, jumlah perahu haya
sekitar 20 buah. Perahunyapun
tambal sulam. Tidak sebaik
perahu yg kunaiki sekarang.
Tak lama kemudian muncullah
sekawanan Lumba2. Kurang
lebih ada 20 ekor. Melompat
lompat mengambil napas.
Terharu betul hatiku...!
Inilah saudaraku..., yg telah
terpisah 55 juta tahun yg lalu.
Lumba2 dan Paus adalah
kerabat dekat.
Mamalia...., beranak.....,
menyusui....., bernapas
dengan paru²....., dan
masih bisa mengeluarkan
air mata kalau bersedih.
Nenek moyang mereka mulai
meninggalkan daratan, dan
mencari kehidupan di laut
sekitar 55 juta tahun yg
lalu. 10 juta tahun setelah
kepunahan Dinosaurus.
Seperti halnya salah seorang
pamanku, yg mempelopori
meninggalkan Njenar, desa
kecil di Purworejo, dan
mencari penghidupan di
Jakarta, 55 tahun yg lalu.
Study Morfologi dari
temuan fosil² dan
penanggalan Radio Carbon,
menyimpulkan seperti itu.
Tangan (tungkai depan) dan
kaki (tungkai belakang), telah
berevolusi menjadi sirip.
Seperti halnya Anjing Laut yg
kita lihat sekarang. Anjing Laut
adalah mamalia darat yang
mulai beradaptasi dan mencari
ikan di laut. Barangkali,
50 juta tahun mendatang,
keturunan Anjing Laut, sudah
berbentuk seperti ikan.
Seperti halnya lumba lumba.
Sampai berjumpa lagi
saudara2 ku...!
Aku balik ke daratan.
Ref: http://evolution.
berkeley.edu/evolibrary/
article/evograms_03
http://etb-whales.
blogspot.com/2012/03/
snake-evolution-photosof-vestigial.html
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Edisi #03 2015
k n o ws loecdi g
ae
l
amg
korea
2015
Jarak Berkembang Biak
Makhluk Hidup
invitation to
amg korea 2015
Oleh: Theodore Manthovani
Oleh: Yosie Octavia
M
amalia memiliki
banyak spesies
dengan interval
antar kelahiran
anak yang besar. Gajah
melahirkan anak sekitar 2
tahun sekali dengan umur
mampu mencapai 70 tahun, dan
paus beranak sekitar 5 tahun
sekali dengan jangkauan umur
sampai 80 tahun. Sementara
itu orangutan dianggap
sebagai primata dengan
jarak kelahiran terlama,
mencapai 8 tahun, dan memiliki
jangkauan umur mencapai 45
tahun. Bandingkan dengan
manusia yang bisa hamil
kembali hanya diselingi
beberapa minggu (walaupun
ada kasus-kasus unik seperti
jarak umur belasan tahun
antara kakak dan adik), dan
hidupnya rata-rata mencapai
umur 75 tahun. Ini masih jauh
lebih lama dibandingkan
dengan lalat yang hanya hidup
berumur beberapa minggu
di tahap dewasa dan hanya
sekali kawin dalam hidupnya
(sperma ditampung sekali
dan persediaannya dipakai
berkali-kali untuk bertelur).
Bagaimana dengan tumbuhan?
Pohon sequoia raksasa
mampu mencapai tinggi 85
meter dan berumur 3000
tahun, dengan rajinnya terus
berbuah dan menebarkan
biji sejak berumur 12 tahun.
Bandingkan dengan tumbuhan
pisang, yang hanya berbuah
sekali seumur hidupnya yang
lamanya sekitar 3 tahun.
Bahkan akibat campur tangan
manusia dalam menyeleksi
turunannya, pisang yang sering
kita makan ini berbunga dan
berbuah yang memiliki biji,
tapi tidak berfungsi sebagai
alat reproduksi, mereka
berkembang biak dengan
metode tunas. Buahnyapun
Images courtesy of: Jay Mantri (magdeleine.co)
berbeda sekali bentuk asalnya
dibandingkan bentuk pisang
yang kita makan sekarang,
pisang itu bagaikan anjing di
dunia tumbuhan. Dikembang
biakan manusia demi
kepentingan dirinya, sampai
berubah jauh dari nenek
moyangnya dulu di saat masih
hidup bebas di alam liar,
namun itu adalah cerita lain.
Secara logis kita akan
terpancing untuk
menyimpulkan bahwa
semakin kecil ukuran suatu
makhluk, maka umurnya akan
semakin pendek dan daur
perkembang biakannya juga
akan semakin cepat. Tapi
baru-baru ini disimpulkan
berbeda oleh para ilmuwan
dari Program Pengeboran Laut
yang telah mengumumkan
penemuan mereka di
konferensi Goldschmidt yang
dihadiri oleh lebih dari 4 ribu
Image source: http://imgkid.com/private-dance-lessons.shtml
ahli geokimia, di Florence,
Italia. Mereka melakukan
penelitian pada bebatuan
yang berlokasi sampai 2,5
kilometer di bawah dasar
laut dan menyatakan bahwa
ditemukan kehidupan yang
beragam di bagian dalam, jauh
di bawah permukaan bumi.
Lebih menarik lagi, dikatakan
oleh Inagaki Fumio dari
agensi Jepang untuk ilmu
pengetahuan dan teknologi
bumi (Japan Agency for
Marine-Earth Science and
Technology), bahwa dalam
sesendok teh batu hanya
terkandung 1000 mikroba.
Jumlah ini jauh lebih sedikit
daripada sesendok teh batu
dari permukaan bumi yang
biasanya memiliki milyaran
bakteri. Yang mencengangkan
adalah, bahwa bakteri ini
hanya berreproduksi setiap
10 ribu tahun, dan bebatuan
di bawah dasar laut itu
berumur 100 juta tahun.
Di samping organisme
bersel satu yang ditemukan
di bebatuan dalam itu, Tim
Engelhardt dari Universitas
Oldenburg, Jerman,
menunjukkan bahwa jumlah
virus melebihi mikroba
sampai 10x lipatnya. Dan
tidak berhenti sampai di sini
saja, semakin dalam lokasinya,
jarak perbandingan jumlah
keduanya tampak semakin
jauh. Laju metabolisme
bakteri purba ini sangatlah
lamban sampai mencuat
pertanyaan apakah ini
masih bisa dikategorikan
sebagai hidup, sementara
mereka memperbanyak
dirinya hanya sekitar setiap
ribuan tahun sekali.
Edisi #03 2015
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Edisi #03 2015
dance
Oleh: Budi Waskita
R
edowa is the single
hardest dance step
that I learned from
History of Waltz.
Sure, it takes a while to make
Mazurka steps intuitive, but
even now I’m still struggling
with Redowa. It is an interesting
dance, where your partner
travels 5-6 feet in just 3 counts.
“Down-two-three” is the
mantra, although there have
always been times when I’m
either not traveling enough,
not low enough, or forgot
to help my partner turn.
“Down-two-three”, and even
lower if you can; it seems that
there are a thousand things
you have to do to get it correct.
There was only frustration for
the first few weeks, and then
I had that magic moment you
described, when you partner
with just the right person. On
that magic occasion, everything
was smooth. Redowa was no
longer a jumping step, but a
smooth undulating movement,
as if I were flying with the
wind. The single minute
lasted forever in my mind, and
though I no longer remember
who my partner was, I always
remember that flying feeling.
And then I spent the rest of the
quarter trying to recreate that
feeling whenever I do Redowa.
More practice, with the right
person, will do it. “It takes
two to tango”, they said. I
believe that when I learn
to smoothly fall on each
step of the Redowa, I will
recapture that flying feeling.
MInd
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story
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story
MInd
11
Design in the workplace can be hard.
We know, because we asked.
20
Things You Should
Never Say to a
Graphic Designer
bu t p ro b a b ly d o
Recently, we’ve been
speaking to a number of
different businesses about the
challenges they face in their
workplace. We’re going to be
sharing these with you over
the next couple of weeks, but
we wanted to start with one
of the most colorful topics
we covered: communication
between designers and
departments or clients.
Believe me, we get it.
Graphic designers can be
hard to communicate with.
They have their design jargon
and special software — and
you might have no idea what it
all means or how it all works.
So if you work with designers,
it helps to ask the right kind
of questions that will move
your project along and create
a final product that everyone
will be happy with — rather
than questions that bring
the project to a crashing halt
with incorrect assumptions
about the design process.
What might those be? Check
out these 20 examples of
questions that designers
wish they didn’t hear. It’s the
first taste of some awesome
plans we have in the pipeline
to make design in the
workplace amazingly simple.
01.
Don’t say: “We
haven’t finished
writing the
copy, but can you
design a draft?”
Why? You’ll often hear
marketing experts say that
“Content is king.” A design
should be built around the
content, not vice versa.
Presenting content to its best
advantage will always look
better and get better results
than trying to squeeze all
the content into an existing
design. Plus, going back and
trying to re-arrange the design
to fit the copy can be timeconsuming for a designer and
increases the turn-around
time for you or your company.
Next time? Get the copy as
close to its final version as
you can before asking your
designer to get started —
it’s better for everyone.
02.
Don’t say: “Can I get
you to do something
really quick?”
Why? Are you sure it will be
quick? Do you know what’s
involved? Your designer is
more than likely happy to
accommodate an extra task or
an adjustment here and there,
but will definitely appreciate
your consideration in asking
how much time it will take
(rather than if you just assume
it’s a quick fix). Designers are
good at giving estimates and
will let you know how much
time they need if you ask.
03.
Don’t say: “Can you
put it in a format
that we can edit?”
Why? If you request an editable
source file, you’ll likely need
specialized design software
and risk changing your
carefully crafted project for
the worse if you don’t have any
design knowledge yourself.
If you want a professionalquality design but will need
to make edits regularly, you
might consider a DIY option
like Canva, where you can
have access to templates
created by designers
that you can customize or
tweak at anytime without
compromising design quality.
04.
Don’t say: “Can you
do lots of different
versions? I think
I’ll know what I
want when I see it.”
Why? Let’s say you’re buying
an expensive, tailor-made suit
or a fancy, custom dress. Would
you say to the seamstress, “Can
you make me six versions of
the outfit? When I see them, I’ll
choose the one I like best and
pay for just that one.” Of course
not. Just because graphic
design is often a digital rather
than physical/tangible product
doesn’t mean that the designer
puts any less time and care
into the work. The design
process will go more smoothly
for both you and the designer
if you first spend some time
developing a detailed creative
brief that helps the designer
understand exactly what you’re
looking for and are trying to
achieve with the design —
including information like your
intended audience, preferred
tone or aesthetic, budget, etc.
05.
Don’t say: “Can you
Photoshop it…?”
Why? Yes, Photoshop and other
advanced design software can
do some amazing things. But it
can’t do everything; sometimes
designers receive requests
that really are technically
impossible. And just because
you can do something doesn’t
necessarily mean you should.
Some of the more extreme
or outlandish effects and
treatments that are possible are
not necessarily the best choice
from a design perspective —
plus, we’ve all seen Photoshop
choices backfire, such as a
model with an oddly angled
arm or leg or impossibly
thin proportions. So ask your
designer to give you some
feedback and constructive
criticism; she’ll usually have a
pretty good idea of what will
or won’t work for your design.
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Edisi #03 2015
06.
Don’t say: “Can I
make just one more
change? I promise
it’s the last one.”
Why? You know and your
designer knows that there
will probably be other
changes after this one. After
all, you’ve asked for multiple
tweaks already. So let’s just
be upfront about it and nicely,
apologetically say something
like: “I’m so sorry to keep
taking up your time like this,
but I found another change
I’d like to make. Can you
change this [word / font /
graphic / color]? Feel free to
add the extra time for these
edits to your invoice.” Graphic
designers are short on time
just like you are, and although
they do want to help you
make sure the design fits your
needs, they also appreciate the
acknowledgement that their
time is valuable. So next time,
try compiling a list of all the
changes you’d like to make and
hand them over to the designer
to do all at once, which is
more efficient for everyone.
07.
Don’t say: Can you
do something that
looks exactly
like [this other
designer’s work]?”
Why? Aside from copyright
issues (and possible legal
consequences), this should be
a matter of ethics. No designer
should be okay with copying
another artist’s work outright,
and you shouldn’t expect
them to. Instead, try pointing
out what you like about the
design specifically, and ask
your designer to do their own
take on the style or try certain
elements inspired by the work,
like a color scheme, basic
layout, or general aesthetic
(clean, vintage, bold, etc.).
08.
Don’t say: “Can
you use this image
I found online?”
Why? Turning to Google
or other search engines for
images can backfire in a
number of ways. For one, like
the previous point, you could
run into legal trouble for
using a copyrighted image
— one that’s not licensed for
personal or commercial use.
Additionally, it’s likely that the
image won’t even look good
in your design because the
resolution is too low. If you’re
looking for an alternative to
paying for stock photos, there
is an increasing number of
sources where you can find
quality, free stock photos.
We’ve complied and rated a
selection of resources here.
cover
09.
Don’t say: “Can
you have this done
by tomorrow?”
Why? Graphic design isn’t an
instant process that is done
with a few clicks of a mouse.
Every project will have its own
process and time requirements.
Realistically, some designs can
be whipped out in a day, while
others will take much, much
longer. It completely depends
on the project (and the
designer’s creative process). If
you’ve found a designer you’d
like to hire, let him or her know
about your time constraints and
ask for a realistic estimate on
how long the design will take.
10.
Don’t say: “I know
someone who works
for half that. Could
you lower your
rate to match?”
Why? Designers set their
prices based on multiple
components: geography,
cost of living, style, skill,
experience, and many more.
Every designer will have
a different combination of
strengths and abilities to offer,
and there’s no special formula
for determining if a designer’s
rate is competitive or “fair.”
Generally, though, you get what
you pay for — so you need to
decide what characteristics
are most valuable to you in
a designer (speed? quality?
originality? reputation?
personality?). That’s not to
say price negotiation is not
an option, but if your first
encounter with a designer is
an effort to “lowball” his rate —
suggesting a rate much lower
than normal, while expecting
the same quality of work —
that will be an immediate
turnoff and feel disrespectful
to the designer. Design studio
story
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Edisi #03 2015
story
13.
Hensher Creative offers a
detailed guide to the subject,
“Graphic Design Pricing:
What’s a Good Designer Worth
These Days?”, including what
goes into pricing and some
industry averages for different
types of design projects.
Don’t say: “Can you
just get the logo
off our website?”
Why? Saving or taking a
screenshot of a logo from
your company website,
Facebook page, or any other
online source just won’t cut
it quality-wise, especially for
print projects. Logos need to
have a certain resolution to
look sharp and clear in your
design; there are different
requirements for print and
web. The failsafe format to
hand over your logo is a vector
file, which means that it can
be resized larger or smaller
to suit any design without loss
of quality. Common vector
files types are AI (an Adobe
Illustrator source file) and EPS.
The original designer of your
logo should be able to provide
you with an appropriate
file if you don’t have one.
11.
Don’t say: [in the
middle of a project]
“By the way, I’ll need
these other related
items in addition to
the initial design.
Can you do that?”
Why? Expanding the scope
of your design project in the
middle of that project, after
agreeing upon a certain
arrangement (e.g., you’ve
agreed on a logo package,
and now you’re asking for
business cards and a letterhead
design in addition), is one of
the worst things you can do
from a designer’s perspective
— especially if you expect
those additions to be included
in the original price. This is
where a creative brief comes
in handy (again). Including
the full scope of the project
within the brief ensures that
you and your designer are on
the same page and can plan
your budget and timeline
accordingly, preventing
unnecessary frustration. If you
do run into extra, unexpected
needs during the course of
the project, you’ll need to
work out a new budget and
timeline for those additions.
14.
12.
Don’t say: “Can you
make it pop?”
Why? Designers, unfortunately,
can’t read your mind. So when
you’re giving guidance or
feedback on a design, try to
be as specific as possible.
Your designer won’t know
what vague descriptors
like “make it pop,” “edgy,”
“modern,” or “fancy” mean
unless you make it clear what
they mean to you by being
more detailed or showing
examples that are similar to
what you’re looking for.
Don’t say: “How
about we just
go back to your
original concept?”
Why? Designers are designers
because they have the artistic
and technical ability to do their
job well. Sometimes instead of
asking for multiple iterations
of a design concept, it’s best
to trust your designer. After
you explain what you need,
let the designer come up
with the best design she can.
Then, take a good, hard look
at the design — maybe take a
couple days to mull it over, or
run it by a trusted third-party
who has some knowledge of
design or your industry —
and make sure any changes
you request are necessary
and explainable. Don’t waste
your designer’s time with
endless experimentation
when the initial design is
exactly what you asked for.
MInd
13
15.
Don’t say: “I started
the design for you
in Microsoft Word /
Paint / Publisher. Can
you finish it for me?”
Why? While programs that come
loaded on your PC or Mac are
perfectly suitable for everyday,
casual use, they’re not intended
for professional design projects.
Neither you nor an experienced
designer will be able to get the
kind of quality you’re looking
for from a home office program.
That’s why designers use
specialized software. It’s best
to let them use those tools from
start to finish — you’ll be much
happier with the final product.
16.
Don’t say: “I can’t pay
you, but you’ll get
a lot of exposure.
Is that ok?”
Why? Designers like a little
publicity as much as the
next guy, but it won’t pay the
bills. Freelance designers,
in particular, have none of
the benefits of traditional
employment — they pay their
own taxes and insurance, buy
their own equipment and
supplies, often maintain a
home office, etc. All of those
costs (not to mention regular
living expenses) have to be
taken into consideration when
designers set their rates. So
doing a job for free or for nonmonetary compensation usually
just isn’t a viable option.
14
MInd
Edisi #03 2015
17.
Don’t say: “Once
you’re done with
the design, I can
have unlimited
revisions, right?”
Why? Many designers put
a limit or a fee structure on
revisions because a project
can theoretically never end
— there’s always something
new to try or another small
adjustment to make. You can
expect to go through a few
rounds of revisions with your
design; that’s normal, and most
designers are happy to work
with you to get your project as
close to “perfect” as possible…
within reason. Remember, even
small changes take time to
make, and the more changes
you request, the longer the
project’s turnaround time.
18.
Don’t say: “How much
would my [special,
complicated
project] cost?”
Why? The answer isn’t as
simple as you might think,
and will be different for
every project (and for every
designer). To borrow an
analogy from designer David
Airey, asking “How much for
[take your pick of design
projects]?” is akin to asking
a realtor “How much for a
house?” The answer is that it
depends…on a lot of things.
That’s because pricing a
project is not a black-andwhite process. Most designers
will want to have a detailed
discussion about your project
before giving you a quote.
Factors like how complex
it is, how fast you’ll need
it, what types of formats or
deliverables you’ll want,
where and how it will be
printed and/or published,
and many others all play a
part in determining pricing.
When you first approach a
designer, offer your project
details before asking about
costs, and you’ll get a more
thoughtful, accurate estimate.
cover
19.
Don’t say: “Can
I call or email
you anytime?”
Why? Nobody — even
freelancers or night-owls —
monitors their work email
or phone 24/7. Designers
have schedules, too (even if
they work from home in their
pajamas) and often collaborate
with multiple clients
simultaneously. You may not
be able to get a hold of your
designer at a moment’s notice,
but you should hear back from
him during his working hours.
If you’re concerned about
how easy it will be keep it
touch, make sure to ask when
those working hours are (and
limit your most important
messages to that time) as well
what his preferred method
of communication is.
20.
Don’t say: “You’re the
expert here. Can’t
you just do your
creative magic?”
Why? Well… yes and no.
Designers are (or should be)
experts at creating beautiful,
functional designs from the
guidance and parameters
you provide. But, as we’ve
story
mentioned in previous points,
having something to go on
in the first place makes the
process much smoother: a
detailed creative brief is
ideal, but even something
as simple as providing some
examples of designs you do
and don’t like can be very
helpful. Jeff Sholl at Propoint
Graphics puts it this way:
“‘You’re the expert here’
basically says: we [the clients]
defer to your judgment to
read our minds and give us
something we didn’t even
know we wanted. That is a lot
of pressure to lay on a graphic
designer….The bigger issue
is the amount of freedom
it gives the designer. This
phrase gives us unlimited
freedom to try to tell the story
that you know best. We can
deliver Picasso, but if you
were looking for Rembrandt
there’s gonna be an issue.”
Designers can put all their
creative energies into creating
an interesting, effective design,
but only you know what you
want, so it’s ultimately up to
you to communicate that.
hukum bisnis
1
P
ada suatu kesempatan Robert J. Laikin
(pendiri, Chairman, dan CEOBrightpoint,
Inc.) memberikan sharing mengenai
prinsip-prinsip yang ia jalankan di
dalam dunia bisnis. Dia menamakan prinsipprinsip bisnis tersebut sebagai 10 Hukum
Bisnis yang dijabarkan sebagai berikut:
3
Clients that are easy to work
with — who communicate
clearly and politely, establish
expectations upfront, and are
willing to collaborate — get the
best work from their designers.
Belajarlah memisahkan
antara pikiran
dan tindakan.
As with any collaborative
environment, a little mutual
respect and give-and-take
go a long way in creating a
productive partnership.
6
7
Menjadi kaya tidak
ada hubungannya
dengan uang.
9
Jika Anda gagal
merencanakan
sesuatu, berarti Anda
berencana untuk gagal.
15
Ketika seseorang
menyadari bahwa
ayahnya benar, pada
saat itu ia memiliki
anak yang berpikir
bahwa dirinya salah.
Butuh waktu
bertahun-tahun untuk
membangun sebuah
kepercayaan dan hanya
sekian detik saja untuk
menghancurkannya.
5
Seseorang yang
bersikap baik kepada
Anda namun kasar
terhadap seorang
pelayan, sesungguhnya
dia bukanlah orang
yang baik.
Jika Anda dapat
lolos berkat pesona
Anda selama 15
menit pertama, Anda
sebaiknya segera
mengetahui sesuatu.
10
2
Kawan jauh
lebih berharga
daripada uang.
4
Beli dengan harga
rendah dan jual
dengan harga tinggi.
MInd
Oleh: Karly Mulyadi
To sum up…
And designers that have
those same qualities have
more satisfied clients. Most
designers are more than happy
to guide you through the
often-foreign design process
and answer any questions
you might have, and they like
nothing better than being
asked for recommendations.
Images courtesy of: Mike Lawn (dailymail.co.uk)
10
Edisi #03 2015
business
8
Fokus pada apa
yang Anda miliki,
bukan pada apa
yang telah hilang.
16
MInd
Edisi #03 2015
fiction
Kalahnya
Si Kaya
racikan obat untuk anak saya.
Sudah 4 hari ini badannya
panas. Semoga sekedar demam
biasa… bukan gejala DBD
atau penyakit-penyakit berat
lainnya.”
“Anaknya umur berapa, Pak?
Kok, enggak bareng sama
Bapak?”
bagian satu
Oleh: Dewobroto Adhiwignyo
“ Th e r i ch g e t r i ch e r a n d t h e p o o r g e t ch i l d r e n .”
f. scott fitzgerald
D
i ruang tunggu
suatu rumah sakit
ibukota, seorang
pria berusia 23
tahun yang berasal dari
golongan ekonomi menengah
nyaris ke bawah duduk
setengah membungkuk dengan
siku-siku tangan berpangku
pada paha kedua kakinya.
Telapak-telapak tangannya
yang saling mengatup ia
jadikan tempat bertumpu
dagunya yang berjanggut
tipis. Di ruangan itu hanya
terdengar beberapa suara
yang tidak terlalu penting
untuk didengar: suara tayangan
opera sabun yang diiringi
background music lagu-lagu
pop terkini dari televisi; dan
suara beberapa orang yang
tengah bertransaksi di apotek
di samping ruangan tersebut.
***
S
enja itu, pria muda
tersebut masih
mengenakan pakaian
ala pekerja kantoran
kelas menengah ibukota;
dengan kemeja putih hem
panjang yang masing-masing
hemnya telah ia singsingkan;
tergulung hingga pangkal siku
lengan atas secara tidak rapi
akibat terburu-buru sejak jam
Images courtesy of: Ryan McGuire
bubar kantor. Cuff pada kedua
hemnya tampak menjuntai
seperti kelopak bunga yang
baru saja mekar. Pada sisi
dalam masing-masing cuff
nampak guratan-guratan pekat
noda hitam kecokelatan akibat
keringat yang tercampur
dengan debu, menandakan
ruangan kantor perusahaan
kelas menengah tempat ia
bekerja tidak ber-AC; atau
barangkali ber-AC, namun ACnya sedang rusak. Pergelangan
tangan kirinya mengenakan
arloji TAG Heuer KW yang
entah KW berapa. Sebuah
cincin emas tersemat pada jari
manis tangan kirinya. Simpul
dasi yang ia kenakan telah
dilonggarkan hingga kerah
kemeja arrow murahannya
yang sudah lusuh dan kusut
itu tidak lagi mencekak leher.
Rambut hitamnya yang model
belah tengah tampak lepek
dan berantakan. Bercak besar
bekas keringat berbentuk peta
sebuah pulau terceplak jelas
pada bagian belikat punggung
kemejanya; mengindikasikan
bahwa ia baru tiba dan duduk
di ruang tunggu ber-AC
rumah sakit itu tidak lebih
dari 15 menit yang lalu. Ia
datang sepulang kerja dari
kantor dengan menggunakan
kendaraan angkutan umum
reyot yang sudah uzur,
berpindah sekitar dua hingga
tiga trayek di tengah hiruk
pikuk jam pulang kantor para
pekerja ibukota.
Sambil menunduk, sesekali
pria itu mendongakkan kepala
untuk sekedar memperhatikan
keadaan sekitar. Tak sekalipun
ia sandarkan tubuh letihnya
pada sandaran bangku, atau
menyelonjorkan kakinya yang
pegal-pegal untuk sekedar
meregangkan otot. Gestur
duduk kaku itu dikombinasikan
dengan ekspresi tegang pada
wajahnya yang berdebu dan
agak berkeringat dingin.
Sesaat kemudian mendadak
ruang tunggu itu menjadi
begitu hening; nyaris sunyi;
dan akan menjadi benarbenar sunyi jika saja jarum
jam dinding yang ada di sana
berhenti berdetak.
“Lagi nungguin istri lahiran ya,
Pak?”
Pria muda itu tersontak kaget.
Di hadapannya tengah berdiri
seorang pria parlente paruh
baya berperawakan tinggi
agak gemuk. Ia mengenakan
stelan jas notch lapel biru tua.
Di dahi bagian atas alis mata
“Anak saya umur 10 tahun.
Tadi setelah berobat, anak saya
pulang duluan sama ibunya
ke rumah naik taksi. Kasihan
kalau ikut nunggu lama-lama
di sini. Kebetulan juga saya
baru pulang kantor, jadi tadi
istri saya telepon, minta supaya
saya sekalian ngambil dan
nebus racikan obat. Saya kan
tiap pulang ngantor memang
selalu lewat jalan depan rumah
sakit ini. Jadi nanti habis ambil
obat saya pulang sendiri naik
mobil.”
kanannya terdapat bekas
jahitan luka sobek yang meski
kecil namun sangat jelas
terlihat. Aroma wewangian
Eau de Perfume-nya tercium
semakin jelas oleh si pria
muda setelah pria parlente
paruh baya tersebut langsung
duduk di sebelah kirinya tanpa
permisi. Tanpa ba bi bu.
“Anaknya yang keberapa, Pak?
Laki atau perempuan?”
Dalam hatinya si pria muda
bergumam, “Ni orang tau aja
kalau gue lagi nungguin bini
gue lahiran.”
Pria muda itu bergumam
sambil tersenyum kecil. Ia lalu
terdiam. Entah karena bingung
mau berkata apa, atau memang
karena tidak ingin melanjutkan
perbincangan.
“Iya, Pak. Barusan saya sampai
di sini. Istri saya sudah masuk
ke ruang bersalin waktu saya
datang.”
“Kok, enggak ikut masuk ke
dalam? Enggak ikut nemenin
lahiran istri…?”
“Ah… enggak, Pak. Saya
enggak tegaan liat istri
teriak-teriak kesakitan karena
kontraksi. Apa lagi ini lahiran
pertamanya... dan tadi juga
saya datang terlambat,”
jawabnya sambil tersenyum
kecut.
“Bapak di sini sedang nunggu
apa?”
“Oh… saya sedang nunggu
Edisi #03 2015
fiction
“Anak pertama kami
perempuan. Dan anak semata
wayang. Ahahaha…!” jawab
pria paruh baya tersebut
sembari terkekeh kecil.
“Oh….”
“Saya baru married usia 41.
Istri saya 8 tahun lebih muda
usianya. Waktu itu saya memang
pengen mapan di karier dan
merintis wirausaha dulu, beli
unit suite apartment dulu
untuk persiapan berkeluarga,
dan punya tabungan yang
sekarang sebagiannya sudah
saya invest lagi untuk nambah
‘passive income’ lain selain dari
wirausaha. Jadi waktu married
dan istri melahirkan saya sudah
punya aset-aset dan enggak
jadi terbebani secara finansial.
Jikalaupun suatu waktu saya
kenapa-kenapa lalu meninggal,
saya dapat ninggalin istri dan
anak dengan tenang karena
istri saya dapat membiayai
hidupnya dan anak kami
dengan ‘passive income’ yang
lebih dari cukup itu.”
Si pria muda hanya duduk
terdiam, namun kali ini ia
menyandarkan badan dan
menyelonjorkan kakinya
sambil menghela nafas
panjang. Wajahnya yang
kelelahan semakin bertambah
kusut. Dalam hatinya ia
menggerutu.
“Sombong dan angkuh bener
ni orang. Mentang-mentang
udah hidup makmur jadi orang
gedean.”
Bagi si pria muda, gaji bulanan
pokok berikut tunjangantunjangannya sebagai pegawai
kantoran biasa yang hanya
sedikit lebih tinggi dari
UMR memang tergolong
sangat pas-pasan untuk
menghidupi keluarganya.
Sama sekali belum terpikir
dalam benaknya, bagaimana
kelanjutan strategi finansial
keluarga setelah istrinya
melahirkan kelak.
Si pria parlente paruh baya
yang nampak kurang peka
dengan suasana hati pria muda
tersebut lantas melanjutkan
ceritanya.
“Negeri ini sudah ketinggian
kuantitas SDM; over-populated,
tapi minim di kualitasnya.
Kondisi ini makin parah dengan
masyarakat kita yang hobinya
married tanpa kesiapan
apa-apa, baik secara mental
maupun materi. Alih-alihnya
bilang bahwa married itu untuk
menyempurnakan ibadah
lah… menghindari zina lah…
banyak anak, banyak rezeki
lah. Lha, kan nanti jadi kasihan
si anak kalau bapak-ibunya
kelewat miskin. Ujung-ujungnya
anak-anak mereka enggak
disekolahin, malah dipekerjakan
jadi pengamen dan pengemis
buat nambah 'rezeki'. Tambah
lagi maraknya tayangan opera
sabun tidak mendidik yang
hampir selalu memposisikan
orang miskin sebagai tokoh
protagonis dan orang kaya
sebagai tokoh antagonis. Seolaholah kemiskinan itu merupakan
sebuah anugerah sebagai
modal untuk dapat dikasihani
dan disayangi. Alhasil, married
dan punya banyak anak pun
dianggap enggak jadi masalah
walau terjerat carut marut
kemiskinan karena mindset ala
opera sabun: yang miskin itu
pasti baik dan harus dikasihani;
sementara yang kaya itu pasti
jahat dan harus dibenci. Belum
lagi pengaruh dari trend filmfilm religi zaman sekarang yang
married cukup modal dengkul
saja. Baru sebentar dikenalin ke
anak gadisnya si calon mertua,
lusa sudah berani ngadep
bapak-ibunya minta restu untuk
married. Dikiranya married itu
perkara tetek bengek cinta dan
ibadah doang apa? Seolah-olah
kadar keimanan yang sengaja
ditampilkan secara eksplisit
dieksploitasi guna memperoleh
simpati si calon mertua untuk
membahagiakan anak gadisnya
kelak. Apa enggak konyol itu
indikator kesiapan married dan
hidup berumahtangganya?”
Monolog lanjutan itu membuat
si pria muda semakin malas
menanggapi racauan orang
yang duduk di sebelahnya itu.
Ia terus-terusan menggerutu
dalam hati.
“Kurang ajar…! Gue juga dulu
ngelamar bini gue waktu lagi
kere. Pun sekarang setelah 2
tahun berumah tangga hidup
gue masih begini-begini aja;
rumah pun masih ngontrak.
Mertua gue dulu ngizinin gue
nikah sama anak gadisnya
karena tau gue rajin baca kitab
suci dan rajin beribadah.”
Meski perkataan si pria
parlente paruh baya itu masuk
akal, si pria muda yang secara
terpaksa jadi pendengarnyapun
masih merasa tinggi dalam
kepas-pasannya jua ―yang
dapat dikategorikan sebagai
nyaris miskin―, bak tokoh
protagonis opera sabun negeri
ini yang merasa terzalimi dan
wajib diberi belas kasihan,
dibela, didoakan, dan dibantu,
hanya atas dasar kondisinya
yang 'tabah' (dalam artian tidak
melakukan usaha solutif yang
signifikan untuk memperbaiki
kualitas kehidupannya) dalam
kemiskinan. Dalam benaknya
yang lain ia menerka-nerka,
jangan-jangan pria parlente
MInd
17
paruh baya tersebut memang
mampu menerawang
kehidupannya; karena racauan
ngalor-ngidulnya sedari
tadi selalu bingo menelisik
kehidupannya yang serba paspasan dan dapat dikategorikan
sebagai nyaris miskin. “Ah,
tidak mungkin. Itu pasti hanya
kebetulan saja,” sahutnya dalam
hati seraya menenangkan
diri. Si pria muda lantas
hanya bergumam, sekedar
untuk menunjukkan bahwa ia
mendengarkan racauan pria
parlente paruh baya itu.
“Oh….”
Pria parlente paruh baya itu
lantas melanjutkan racauannya.
“Saya sempat berpikir,
masyarakat kita ini banyak
yang masih berpikir pendek
soal kehidupan pasca-wedding.
Oleh sebab itu seharusnya
pemerintah memperketat
syarat-syarat hukum marriage
pada hal-hal yang lebih
konkret, ketimbang sibuk
mempolemikkan marriage
beda keyakinan yang jelas-jelas
sifatnya pribadi dan tidak perlu
dicampurtangani pemerintah.
Hal-hal konkret itu dapat
mencakup ketersediaan materi
kedua calon pengantin: misalnya
harus sudah punya properti/
tempat tinggal sendiri untuk
berkeluarga yang legal secara
hukum, penghasilan bulanan
tetap harus ada minimal sekian
juta rupiah, serta harus sudah
punya tabungan minimal sekian
puluh juta rupiah. Dengan
demikian mereka yang akan
married dapat dijamin telah
siap. Jika belum siap secara
mental, minimal siap secara
materi. Anak-anak mereka pun
kelak tidak akan diterlantarkan
dan akan dapat mencicipi
manisnya bangku pendidikan.
Dengan demikian, ke depannya
akan dihasilkan SDM-SDM yang
berkualitas. Yah… paling tidak,
akan lebih baik keadaannya
ketimbang tidak sekolah
sama sekali, meskipun dunia
pendidikan negeri ini juga
masih amburadul kondisinya.
Ahahaha…!” ia mengakhiri
monolognya yang barangkali
agak utopis itu dengan terkekeh
kembali. (bersambung...)
18
MInd
Edisi #03 2015
Bagaimana jika kita
kehilangan passport
pada saat di luar negeri?
Oleh: Karly Mulyadi
travel
Edisi #03 2015
travel
19
K e h i l a n g a n pa s s p o r t s a a t t r av e l i n g d i l u a r n e g e r i
buk a n l a h h a l y a n g d i i n g i n k a n , n a m u n k e m u n gk i n a n
i t u t e t a p s a j a a d a . L a l u, a pa ya n g h a r u s k i t a
l a kuk a n j i k a k e h i l a n g a n d o ku m e n p a l i n g p e n t i n g
k e t i k a m e l a kuk a n p e r j a l a n a n l i n t a s n e g a r a ?
T
ak ada satu pun
traveler yang ingin
kehilangan passport
saat berlibur di luar
negeri, baik karena kecopetan,
kelalaian, atau pun kurang
waspada. Jika mengalami hal
ini, yang pertama harus kita
lakukan adalah: jangan panik.
Hal berikutnya yang harus
dilakukan ketika kehilangan
paspor di luar negeri adalah
menyiapkan pas foto ukuran
passport sebanyak 4 (empat)
buah yang akan berguna
saat pelaporan kehilangan di
kantor polisi dan perwakilan
RI di negara bersangkutan.
Kita bisa foto di photo both
yang biasanya ada di malmal atau di studio foto. Atau
akan lebih baik lagi jika kita
bisa mempersiapkan foto
sejak sebelum berangkat
untuk berjaga-jaga.
Setelah itu, melakukan
pelaporan kehilangan passport
di kantor polisi terdekat. Jika
kehilangan di kereta (seperti
yang saya alami pada bulan
Desember 2014 lalu) maka
bisa melaporkannya di stasiun
kereta tujuan. Kantor kepolisian
tersebut akan menerbitkan
surat keterangan kehilangan
yang akan berguna saat
pembuatan passport sementara
di kantor perwakilan RI.
Jangan lupa meminta copy
surat keterangan kehilangan
jika butuh untuk pengurusan
asuransi kehilangan di
tanah air. Pihak kantor polisi
akan meminta kita untuk
memberikan 1 (satu) buah
pas foto dan menunjukkan
copy/foto passport untuk
Images courtesy of: Tomas Laurinavicius (magdeleine.co)
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referensi pembuatan surat
keterangan kehilangan.
Tahap berikutnya yaitu
mengurus pembuatan passport
sementara di kantor perwakilan
RI (KBRI atau Konsulat Jenderal)
di negara bersangkutan.
Pihak KBRI akan menerbitkan
Surat Perjalanan Laksana
Paspor (SPLP) yang berfungi
sebagai passport sementara.
Untuk membuat SPLP, ada
beberapa persyaratan yang
diminta, antara lain:
1. Surat identitas dari
Indonesia (KTP/SIM/Akte
Kelahiran/Kartu Keluarga)
2. Surat keterangan kehilangan
dari kantor polisi terdekat
3. Salinan/fotokopi passport
(bila ada). Foto passport
yang kita simpan di dalam
telepon genggam juga
bisa digunakan. Cukup
print atau e-mail foto
passport tersebut ke
pihak KBRI (seperti yang
saya lakukan saat itu).
4. Formulir permohonan
SPLP yang telah diisi dan
ditandatangani. Formulir ini
bisa didapatkan di KBRI atau
kantor Konsulat Jenderal.
5. 2 (dua) buah pas foto ukuran
passport dengan latar
belakang warna terang.
6. Membayar biaya pembuatan
SPLP. Di beberapa negara,
biayanya berkisar US$ 5
atau EUR 5, dan dibayar
dalam bentuk cash.
Lamanya proses pembuatan
SPLP tergantung KBRI masingmasing negara. Berdasarkan
pengalaman saya, kurang dari
1 jam (tapi saat itu memang
hanya saya saja yang mengurus
pembuatan SPLP). Jika kita
tak bisa menunjukkan kartu
identitas, proses penerbitan
SPLP mungkin akan memakan
waktu cukup lama karena
pemeriksaan identitas dan
status kewarganegaraan. Dan
jangan khawatir, pihak KBRI
pun bersedia membantu
meski kita melakukan
pengurusan tersebut di saat
weekend atau hari libur.
Tapi jangan lupa telepon
dulu untuk membuat janji.
Jika SPLP telah terbit, kita
bisa bernafas lega dan bisa
kembali ke Indonesia untuk
mengurus hilangnya passport
di Kantor Imigrasi di kota
tempat kita berdomisili.
Cukup mudah, bukan?
20
MInd
Edisi #03 2015
animal
book
Edisi #03 2015
review
elusan kenikmatan
Build, Borrow, or Buy:
Solving the Growth Dilemma
Oleh: Theodore Manthovani
Oleh: Femi Ardine
J
udul dengan bahasa
yang tampaknya
vulgar ya, tenang
saja, karena itu tidak
menggambarkan isinya sama
sekali. Pembahasan yang
dimaksud adalah artinya secara
literal dan istilahnya memang
sering disalahgunakan oleh
pihak yang tidak bertanggung
jawab dalam novel ala 17+
sejak jaman bapak ibu saya.
Kita tentu sering merasakan
nikmatnya mengelus kepala
sendiri, bahkan mungkin
memang ada yang sejak kecil
selalu dielus rambutnya oleh
bapak/ibunya ketika ditemani
tidur. Hal lumrah ini ternyata
juga merupakan hal umum
yang ada pada hewan lain, dan
secara alam bawah sadar kita
pun mengetahuinya. Hal ini
terlihat dari bagaimana cara
kita memperlakukan hewan
peliharaan, berlaku khususnya
untuk para pencinta hewan.
Kucing dan anjing sering
digambarkan sebagai anggota
keluarga yang diperhatikan
dengan ungkapan elusan pada
kepala dan daerah lainnya.
Hal ini ada dasarnya menurut
sains, biang keroknya adalah
neuron MRGPRB4+ yang
teraktivasi saat melakukan
hal ini. Perasaan nikmat
yang kita kenali dan akhirnya
kita sukai dan biasakan
terus ini menjadi adiksi kita
dalam mencari afeksi.
Bukan hanya manusia, seperti
yang telah saya sebutkan
di atas, neuron ini juga
terdapat pada hewan lain,
terlihat jelas terutama pada
jenis mamalia, dan tersebar
di seluruh permukaan
tubuh. Karena itulah hanya
akan teraktivasi oleh
interaksi kulit dan tentunya
terasa oleh perlakuan
lembut. Tampaknya hasil
evolusi ini terkait dengan
kehidupan sosial entitas
dengan sesamanya, dan
juga terhubung oleh kondisi
yang merendahkan tingkat
stres, yang pada akhirnya
bisa terasa walaupun
aktivitas yang terjadi
sampai lintas spesies.
Keberadaan neuron MRGPRB4+
ini tampaknya berumur jauh
lebih tua dari mamalia, secara
tampak juga ada pada makhluk
jenis lain seperti burung yang
masih merupakan keturunan
langsung dinosaurus.
Leluhur manusia tampaknya
menyadari efek ini pada
hewan dan menggunakan
trik ini untuk menjinakkan
berbagai hewan menjadi
peliharaan, sehingga mampu
mendomestikasi serigala
buas dan mandiri menjadi
anjing yang jinak dan setia.
Y
shopping experience. Your
fear has come true, many are
addicted to online shopping
while your company’s
performance slowly degrading.
Then one day, the fourth year,
come along pure-click retail
businesses who pamper
consumers with their simple
using, saving time, and less
effort shopping. Full time
mothers, business women,
single mothers, high-tech
men, busy husbands, and
many customer segments
are starting to try this online
Shareholders starting to take
notice this new presence of
online retail company. “Halt
them, bring us back to our
glory!” said shareholders to
you. The only thing you can
come as an answer is making
your company as click-andmortar company, which is
combination of retail and
online shopping. Consumer
can buy at physical shop or
online, whichever they like.
But, another problem arise,
how can you make it happen
as you never had any prior
experience in online? Build the
required capability internally,
ou are a CEO of
well known brickand-mortar retail
company and have
been sitting comfortably
with both legs on your
desk. One year, two years,
three years have passed,
your reign skyrocketed
within shareholders and
competitors shakingly
awaiting at your judgement.
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21
borrow resources from another
company, or buy a company
which runs online shopping
to acquire their knowledge?
Decision making in build,
borrow, or buy isn’t limited
in an urgent need of change
because of external factor
like the example above. It
can be applied to a firm in
need of growth. For example,
a startup company looking
for an opportunity to create
new product or take a step
in brand new business
will consider either build
knowledge internally or
merger with other company.
In this book, when you face
this situation - a situation when
an opportunity to grow come
towards you - 3 options can
be chosen. That options are:
1.Build
means build your capability
internally using your
existing human resources,
raw material resources,
knowledge, system, etc
2. Borrow
means you can borrow some
required resources from
third-party via contract or
alliance. Contract restricted on
resources only with minimal
exposure with third-party.
Alliance doesn’t restricted
on resources only, it can be
knowledge, technology, system,
etc, but alliance requires high
collaboration with third-party.
3. Buy
means you can buy another
company that you need through
M&A (Merger & Acquisition).
The authors gave an example
of Coca Cola launched
their coffee product in Latin
America. They sold their coffee
using vending machine. Coca
Images courtesy of: Tom Eversley
22
MInd
Edisi #03 2015
book
Of c o u r s e y o u d o n ’ t w a n t a n o t h e r c o m p a n y, wh i ch
y o u w e r e a l l i e d w i t h i s s i ph o n i n g y o u wh i l e t h a t
c o m p a n y a r e r e l uc t a n t t o s h a r e wh a t y o u n e e d .
review
Edisi #03 2015
quiz
Mystery
Riddle
One evening there was a murder in the home of married
couple, their son and daughter. One of these four people
Cola believe in their internal
capability, so they only use
“Build” as their choice without
building knowledge about
Latin America using thirdparty. The result was far from
expectation, disappointing.
‘Coffee’ was exaggeration , it
was like drinking a syrup.
Another example from authors
comes from a company
who have tendency to M&A
in growing their company.
Everytime they want a growth,
M&A would be their first and
only option, never looking
or consider other option.
Why? Because it was their
habit. When one or two M&A
were successful, it became
a reinforcement that what
they were doing are correct.
So, as an effect, countless
M&A had been done. Several
years later, turmoil in within
arise. Different culture,
different system, different
knowledge seem unblended.
Performance is affected,
then later the company had
to be merged by another.
Authors advises us to first look
at “Build” as our first option.
But before you decided to
choose “Build”, you should
consider these 2 questions.
First, do you (company) have
strong knowledge for the
requirement? Second, do you
have strong organizational fit?
If both answers is yes, then go
for “Build”. If it’s no, then look
for second option, “Contract”.
You have to answer to these
question too before you choose
to “Contract”. First, can you
clarify on your requirement
clearly? Second, can you be
sure to protect your resources
or any kind of assets from
leaking to third-party? If it’s
yes, go for “Contract”. If it’s
no, look for “Alliance” option.
Same as the previous option,
answer these 2 questions first
for “Alliance”. First, can you
have a limited collaboration,
limited on your specific
needs only? Second, do you
have compatibility with your
alliance partner? Of course you
don’t want another company,
which you were allied with
is siphoning you while that
company are reluctant to
share what you need. If both
answers are yes, then go for
it. If it’s no, you might have
to consider the last option.
through building or borrowing.
Don’t forget to answer these
questions before you decided
to take this option. First, will
your company be able to
integrate successfully with the
targeted firm? Second, are your
employees motivated enough
to face M&A? If it’s yes to both,
then “Buy”. If it’s not, revisit
the build-borrow-buy strategy
or redefine your strategy.
Overall, this book is great to
read and recommended for
owner, CEO, top management,
entrepreneur aspirant, or CEO
wannabe. Authors said that
46% companies are more likely
to survive the next 5 years with
well-rounded build-borrowbuy growth strategy than those
that do not diversify. And,
40% of leaders are content
to stick with one strategy
they know best, blaming
poor implementation when
efforts to create new value fail
rather than the real culprit:
the wrong growth strategy.
murdered one of the others. One of the members of the
family witnessed the crime. The other one helped the
murderer.
These are the things we know for sure:
1. The witness and the one who 4. The one who helped the
helped the murderer were not of
the same sex.
murderer was older than the
victim.
2. The oldest person and the
5. The father was the oldest
witness were not of the same sex
member of the family.
3. The youngest person and the 6. The murderer was not the
victim were not of the same sex.
Who was the murderer?
The last option is “Buy” through
M&A. Authors said M&A should
be the last option, not the
first because M&A takes a lot
of effort, cost, and risky. You
should choose this option only
if you can’t get resources or
build competitive advantage
Sumber: http://www.fitbrains.com/
blog/friday-fun-brain-teasers/
youngest member of the family.
MInd
23
the high iq society
Mayapada tower, 11th floor
Jl. Jendral Sudirman kav. 28
INDONESIA
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