Risk Failure Play

Decried as mere brutality on display and celebrated as viscerally real, combat sport has escaped nuanced reflection. Risk, Failure, Play illuminates the many ways in which competitive martial arts differentiate themselves from violence. Presented from the perspective of a dancer and writer,this book takes readers through the examination of the politics of everyday as experienced through training in a range of martial arts practices such as jeet kune do, Brazilian jiu jitsu, kickboxing, Filipino martial arts, and empowerment self defense. The book suggests that play gives us theability to manage difficult realities with intelligence and that physical play, with its immediacy and its heightened risk, is particularly effective at accomplishing this task. Despite its association with frivolity and ease, play is not the opposite of danger, rigor, or failure. Indeed, Risk, Failure, Play demonstrates the many ways in which physical recreation allows us to manage the complexities of our current social reality. Risk, Failure, Play intertwines personalexperience with phenomenology, social psychology, dance studies, performance studies, as well as theories of play and competition in order to produce insights on pleasure, mastery, vulnerability, pain, agency, individual identity, and society. Ultimately, this book suggests that play allows us torehearse other ways to live than the ones we see before us and challenges us to reimagine our social reality. The book will be of interest to martial artists and martial arts scholars, dancers and dance researchers, sports studies scholars, cultural theorists and philosophers of everyday life andsports administrators.

Risk, Failure, Play illuminates the many ways in which competitive martial arts differentiate themselves from violence. Presented from the perspective of a dancer and writer, this book takes readers through the politics of everyday life as experienced through training in a range of martial arts practices such as jeet kune do, Brazilian jiu jitsu, kickboxing, Filipino martial arts, and empowerment self-defense. Author Janet OâShea shows how play gives us the ability to manage difficult realities with intelligence and demonstrates that physical play, with its immediacy and heightened risk, is particularly effective at accomplishing this task. Risk, Failure, Play also demonstrates the many ways in which physical recreation allows us to manage the complexities of our current social reality. Risk, Failure, Play intertwines personal experience with phenomenology, social psychology, dance studies, performance studies, as well as theories of play and competition in order to produce insights on pleasure, mastery, vulnerability, pain, agency, individual identity, and society. Ultimately, this book suggests that play allows us to rehearse other ways to live than the ones we see before us and challenges us to reimagine our social reality.

If you want your startup to succeed, you need to understand why startups fail. “Whether you’re a first-time founder or looking to bring innovation into a corporate environment, Why Startups Fail is essential reading.”—Eric Ries, founder and CEO, LTSE, and New York Times bestselling author of The Lean Startup and The Startup Way Why do startups fail? That question caught Harvard Business School professor Tom Eisenmann by surprise when he realized he couldn’t answer it. So he launched a multiyear research project to find out. In Why Startups Fail, Eisenmann reveals his findings: six distinct patterns that account for the vast majority of startup failures. • Bad Bedfellows. Startup success is thought to rest largely on the founder’s talents and instincts. But the wrong team, investors, or partners can sink a venture just as quickly. • False Starts. In following the oft-cited advice to “fail fast” and to “launch before you’re ready,” founders risk wasting time and capital on the wrong solutions. • False Promises. Success with early adopters can be misleading and give founders unwarranted confidence to expand. • Speed Traps. Despite the pressure to “get big fast,” hypergrowth can spell disaster for even the most promising ventures. • Help Wanted. Rapidly scaling startups need lots of capital and talent, but they can make mistakes that leave them suddenly in short supply of both. • Cascading Miracles. Silicon Valley exhorts entrepreneurs to dream big. But the bigger the vision, the more things that can go wrong. Drawing on fascinating stories of ventures that failed to fulfill their early promise—from a home-furnishings retailer to a concierge dog-walking service, from a dating app to the inventor of a sophisticated social robot, from a fashion brand to a startup deploying a vast network of charging stations for electric vehicles—Eisenmann offers frameworks for detecting when a venture is vulnerable to these patterns, along with a wealth of strategies and tactics for avoiding them. A must-read for founders at any stage of their entrepreneurial journey, Why Startups Fail is not merely a guide to preventing failure but also a roadmap charting the path to startup success.

This Handbook examines the study of failure in social sciences, its manifestations in the contemporary world, and the modalities of dealing with it – both in theory and in practice. It draws together a comprehensive approach to failing, and invisible forms of cancelling out and denial of future perspectives. Underlining critical mechanisms for challenging and reimagining norms of success in contemporary society, it allows readers to understand how contemporary regimes of failure are being formed and institutionalized in relation to policy and economic models, such as neo-liberalism. While capturing the diversity of approaches in framing failure, it assesses the conflations and shifts which have occurred in the study of failure over time. Intended for scholars who research processes of inequality and invisibility, this Handbook aims to formulate a critical manifesto and activism agenda for contemporary society. Presenting an integrated view about failure, the Handbook will be an essential reading for students in sociology, social theory, anthropology, international relations and development research, organization theory, public policy, management studies, queer theory, disability studies, sports, and performance research.

Our most revered business icons of the last few decades are the bold risktakers, such as Richard Branson, Elon Musk, and Steve Jobs. Yet in today's stock market-driven economy, companies are playing it safe, with too many leaders focused on short-term gains, rather than value creation. The result is a static business culture that generates forgettable results—even as the world demands big solutions. So how do we get back in the risk-taking game? In The Risk Factor, Deborah Perry Piscione takes the most comprehensive look at this crucial, undervalued leadership behavior, and outlines how companies must support risk-taking across the enterprise. Exploring the heroes of risk, including entrepreneurs, venture capitalists, and technologists, and the role risk-taking and failure tolerance play in their success, she makes a compelling case not only for big, flashy mergers or acquisitions, but also for unorthodox choices in everything from leadership to corporate social responsibility. Drawing on case studies from a wide range of now-famous giants (Netflix, Salesforce) and successful start-ups (Tesla, NetApp), she distills lessons for both new entrepreneurs and established companies whose longtime risk aversion has cost them more than they realize.

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)