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Tre er det magiske nummeret, ifølge salige De La Soul, og i denne episoden snakker vi om hvordan trioen Trump, Temu og TikTok former bærekraftig business. Vi starter med å si at bærekraftig business aldri har vært viktigere enn nå, ei heller vanskeligere enn nå - og helt i slutten av episoden legger vi til en tredje "v": verdsatt! Sveinung har slettet TikTok, for det er for bra, og han ble inspirert av sin 21-år gamle sønn. Den gangen Lars Jacob var en enda yngre sønn, meldte han seg ut av Boing-klubben og har fortsatt dårlig samvittighet, men det er en sidenote - men har Sveinung virkelig dårlig samvittighet for å ha slettet TikTok? Sveinung mimrer tilbake til økonomisk historie med Stig Tenold, vi nikker til Jared Diamond og snakker om å velge kollaps. Det passer jo bra i vår tid, og vi lister oss derfor inn i Trumps toll-bonanza. Sveinung forteller om Elisabeth Holviks uventede perspektiv på Trumps økonomiske politikk, da vi møtte Sparebank1 SMN i Trondheim. Vi roter med engelske og norske ord, snakker oss inn i de akademiske økonomenes konsensus på tollmurer. Vi tipser om kollega Matthew Coffays nye substack som går i dypet på Trumps økonomiske politikk, snakker om pingviner på australske øyer og economics 101. Massevis av folk blir nevnt, fra Peter Thiel til Lex Luthor og fra Ada Martini og Andy McAfee til Ezra Klein. Sveinung leser opptil flere bøker, både om Silicon Valley og om økonomisk politikk for overflod. Sveinung snakker om Julie og Lavrans i Eccentric People og forteller om Trondheimsselskapet Bag. Lars Jacob snakker om toll-smutthullet som nå lukkes og som kanskje vil gjøre produktene til Temu og Shein dyrere. Vi pirker i varer, tjenester og IP, undrer oss over om vi bør bruke sommeren på å skrive RESTART 2.0 og diskuterer hvorvidt du kan slå en sko på en flatskjerm-TV. Lars Jacob mimrer tilbake til episode #JP002, husker selv uten post-it-lapper og trekker linjer mellom samfunnsøkonomi og bedriftsøkonomi. Vi snakker kinesiske influencere og den nye markedsføringen, er ordentlig optimistiske rundt EUs grønne strategier post-Omnibus og Sveinung må dra til Silicon Valley for å se mappa si. Hosted on Acast. See acast.com/privacy for more information.
Norske Emmy er klar for ESC for Irland, startrekkefølgen er klar, Anders skal tilbake på TV denne uka. Dessuten snakker vi litt om Lavrans og Angelina Jordan som måtte trekke seg i forkant og Anders har funnet sin favorittlåt i årets ESC.Linker:Emmy - Laika Party LiveKlemen - How Much Time Do We Have Left
Lavrans (26) krever nytt styre // Tidenes største kontrakt // Hegnar om Jon Almaas Hosted on Acast. See acast.com/privacy for more information.
In this episode of the CX pod, hosts Merete and Joanna welcome Lavrans Løvlie from former Livework Norway, now PwC to discuss the evolution of service design and its impact on customer experience. Lavrans shares his journey from industrial design to service design, the founding of Livework, and the transition to PwC. The conversation delves into the definition of customer experience, the importance of understanding customer journeys, and the complexities of ownership and responsibility in customer experience management. They also delve into the nuances of customer experience and management, exploring the evolution of customer-centric practices and the impact of technology on customer interactions, even touching upon the importance of voice of the customer programs and the role of employee experience in shaping company culture. The conversation culminates in practical advice on securing funding for customer-centric initiatives, emphasizing the need for a balanced approach that considers business, customer, and employee perspectives.To follow Lavrans on Linkedin his profile is found here: https://www.linkedin.com/in/lavrans-lovlie/
Backstage in Arendal we met Lavrans Svendsen before our Live podcast. We talked about what Lavrans likes to do in the summer. We will launch short episodes every week this summer. Stay Tuned. We will be back in August with normal length of the episodes. HeartSmart Conversations, a weekly podcast with Märtha Louise, Lilli Bendriss & Mari Manzetti. Three spiritual women with a deep felt desire to help all people understand the transformational power of love, and how to implement it into our lives for the better of all mankind. Produced by Cornelia Scheele Carlsen, HeartSmart AS Collaboration send to cornelia@heartsmart.no Picture: Thomas Qvale
In this episode of Glauc Talk, Will and Kristin dive into the mysteries of jury duty, sharing their personal experiences and unique theories about the process. They also explore the surprising impact of private equity on everyday businesses and healthcare, highlighting recent news surrounding Red Lobster. — To Get Tickets to Wife & Death: You can visit Glaucomflecken.com/live We want to hear YOUR stories (and medical puns)! Shoot us an email and say hi! knockknockhi@human-content.com Can't get enough of us? Shucks. You can support the show on Patreon for early episode access, exclusive bonus shows, livestream hangouts, and much more! – http://www.patreon.com/glaucomflecken -- A friendly reminder from the G's and Tarsus: If you want to learn more about Demodex Blepharitis, making an appointment with your eye doctor for an eyelid exam can help you know for sure. Visit http://www.EyelidCheck.com for more information. This episode is brought to you by pRxcision. To see a demo, Go to http://www.prxcision.com/kkh. Today's episode is brought to you by the Nuance Dragon Ambient Experience (DAX). It's like having a virtual Jonathan in your pocket. If you would like to learn more about DAX Copilot check out http://nuance.com/discoverDAX and ask your provider for the DAX Copilot experience. Produced by Human Content Learn more about your ad choices. Visit megaphone.fm/adchoices
Det er noe spesielt med huset Lavrans bor i, og energien er tung. Plutselig dukker det opp et par føtter ut av ingenting, uten kropp. Hvem tilhørte føttene, og hva gjør denne personen i huset? Hosted on Acast. See acast.com/privacy for more information.
Lavrans driver for det meste med abstrakt kunst. Under vingene til Drammens-legenden Eric Ness Christiansen og anerkjente Mikael Noguchi, har den unge kunstneren virkelig manet frem en egen stil! Tross kort fartstid selger han bilder i en forrykende fart og har flere samarbeid med selveste Maud Angelica Behn! I episoden tar vi en tur innom alt fra Transylvanias tårn til Pokémon – og Konkret teaser nytt merch på oslosuger.no Klikk for å se episoden på YouTube. Sjekk nettsiden hans og følg han på insta: https://www.instagram.com/artbylavrans/ Følg podden på TikTok og Instagram! Host: Isso Produsent: Konkret Intro music: Martin Bråthen Outro & jingles: Colembo
Hva må man gjøre for å bli elev? Dette spørsmålet hjelper Lavrans og Hanna, som nå har gått over 100 dager på skolen, med å svare på.
Lavrans Borgen er en selvlært kunstner fra drammen. På bare tre år har han selv bygget seg en karriere og stiller ut på flere kjente gallerier i Norge. Vi snakker om kunst, fremtiden, mental helse og mye mer. Hvordan fikk han muligheten til å lage kunst for Martin Ødegaard og Barisbrevik? Vel hørt!
En helt ny serie hvor vi blir kjent med historien til ulike personer og hva som ligger bak deres karrierevalg og personlige reise - Garderobeprat Lavrans Borgen er en ung kunstner fra Drammen som tatt hans unge alder har en å formidle sin kunst. Inspirasjonen henter han fra egne opplevelser og erfaringer og blander dette med nytenkinger fra bl.a. Keith Haring, Basquiat og Maserati. Instagram: @artbylavrans
Et av få idrettsarrangement der det kun spilles om prestisje – også omtalt som blant verdens flotteste sports-eventer. Ryder Cup er tematikken i denne episoden. Vi har med oss både en tidligere proffspiller, nå ekspertkommentator for Viasat, samt en tidligere svømmer i verdenseliten som nå dagdrømmer om golf.Programleder er Espen Skyrud og med seg har han Stig-André Berge.
Lavrans er ikke god på å planlegge bursdager, men gutta planlegger likevel å dra til Las Vegas i 40 års lag! Hør Lavrans klage om quiz og bursdager i denne episoden av Milde Meninger.Sjekk ut mer fra Ahmed her: @ahmed.mjau på instagramØnsker du å samarbeide med denne podcasten? Ta kontakt med hei@simpltalent.noDenne podcasten er produsert av @simpl.talent Hosted on Acast. See acast.com/privacy for more information.
Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun Junio 1. El incongruente – Ramón Gómez de la Serna 2. Siddhartha – Herman Hesse 3. La habitación enorme – E.E. Cummings 4. Cristina, hija de Lavrans – Sigrid Undset --- Send in a voice message: https://podcasters.spotify.com/pod/show/irving-sun/message
Dette er den første delen av en Lørn Masterclass i tema Designdrevet innovasjon i offentlig sektor, hvor vi har Lavrans Løvlie fra PwC som gjest. Lavrans er leder for design teamet i PwC og han har også startet verdens første tjenestedesignfirma Livework i London. I denne delen gir Silvija og Lavrans oss en introduksjon til tema tjenestedesign. Hva er det, hvorfor trenger vi det og hvordan skiller Norge seg ut i dette feltet?-Det vi holder på med er ikke akkurat rocket science, man kan gjøre veldig mye at det vi gjør uten å være utdannet designerDette LØRNER du:Forstå hva kundene trengerHva vil skape verdi for kundenUtviklingsmetoderNye forretningsmodellerBærekraft, digitalisering og plattformøkonomiOffentlige endringer og tillit Hosted on Acast. See acast.com/privacy for more information.
I denne andre delen av en Lørn Masterclass gir Lavrans Løvlie fra PwC oss noen av sine favoritt eksempler som representerer det nye som skjer i verden og i norge, spesielt. Lavrans har tidligere jobbet med med verdens største produsent av hestesko og hesteskospiker. Hvordan innfører man tjenestedesign i en virksomhet som ikke vet hvordan de har behov for tjenestedesign? -Vi er ofte flinke til å fikse og løse arbeidsoppgaver, men økonomidelen med faktura og regninger er ofte et større problemDette LØRNER du:Kulturrådet som et åpent kulturtilbud for hele befolkningenGjensidige som ekte bærekraftsdriverViktigheten av tillit i tjenesteneNye tjenestemodellerTjenester for alleDelingsøkonomiForbedre tjenesterViktigheten av god informasjonsflyt Hosted on Acast. See acast.com/privacy for more information.
I denne tredje delen av en Lørn Masterclass gir Lavrans Løvlie fra PwC oss en punktvis oppskrift på fem steg man bør gjennomgå for å sikre seg godt tjenestedesign. Han bretter ut om hva de ulike stegene betyr og hvordan de gjennomføres og viser hvordan man kan bygge sin egen verktøykasse og manual tilpasset deg og din bedrift. Hva består de fem stegene av og er alle like viktige? -Dette er ikke rocket science, du trenger ikke å gå 6 år på skole slik som megDette LØRNER du: FeltundersøkelseKundereiseprototypingDesign ThinkingNudging Hosted on Acast. See acast.com/privacy for more information.
Dette er fjerne og siste dele av en Lørn Masterclass i tema Designdrevet innovasjon i offentlig sektor, hvor vi har Lavrans Løvlie fra PwC som gjest. I siste samtale trekker både Silvija og Lavrans frem hva de forstår som de viktigste og mest avgjørende grep i Design thinking-prosessen og dette kommer frem i et praktisk eksempel via en workshop, hvor Silvija er en SMB Leder og Lavrans er mentor. Hvilke feil må vi unngå og hvordan får vi folk til å starte å lære? vet vi i det hele tatt hvorfor folk ønsker å lære i utgangspunktet? -“Vi skal ut å prate med folk”Dette LØRNER du: Hvorfor folk ønsker ny lærdomTriggereHvordan bli kjent med kundenÅ finne “tidslommen”Mulighetsrommet i Word of mouth Hosted on Acast. See acast.com/privacy for more information.
I denne podcasten kan du lære litt om kunst! Programleder Fredrik Nygaard sitter i studio sammen med kunstner Lavrans Borgen, og skal blant annet gi deg et lynkurs i male-kunsten.
Ofrecemos una conferencia sobre los cuidados paliativos impartida por Antonio Noguera en la Jornada de Pastoral de la Salud de la Diócesis de Getafe, en marzo de 2022. Antonio Noguera comenta un libro: "Cristina, hija de Lavrans", de la escritora noruega Sigrid Undset
FrPs andre kandidat i Buskerud og gruppeleder i Viken, Lavrans Kierulf er ikke imponert over kaoset på rød-grønn side foran valget. Han forstår seg ikke på SP, som han mener profilerer seg på gamle FrP-saker.
My guest today is Andy Polaine. Andy is a service designer, consultant, educator, author, and podcaster. He's co-author of the book Service Design: From Insight to Implementation and host of the Power of Ten podcast. In this conversation, we discuss service design, and how it helps organizations think more holistically about the experiences they enable. Listen to the full conversation Show notes Andy Polaine Andy Polaine on Twitter Andy Polaine on LinkedIn Power of Ten podcast Service Design: From Insight to Implementation by Andy Polaine, Lavrans Lovlie, and Ben Reason Adobe Director (aka Macromedia Director, or Video Works) Antirom School of the Arts & Media, University of New South Wales Ben Reason Livework Lavrans Løvlie (in Norwegian) Chris Downs on LinkedIn Fjord Powers of Ten (film) by Charles and Ray Eames The Guide to Self-sufficiency by John Seymour Service blueprint Design for the Long Term by Andy Polaine UK Government Digital Service (GDS) This is HCD network Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the full transcript Jorge: So, Andy, welcome to the show. Andy: Thanks for having me. It's pleasure to be here. It's very nice to be the other side of the mic, as they say. Jorge: Well, it's a pleasure having you here. For folks who might not know you, how do you introduce yourself? Andy's background Andy: So, my name is Andy Polaine. I am a service designer, consultant, trainer, coach, writer, and podcaster. And so, it's never really very easy. I've got one of those kinds of “hyphen” professions where I just kind of add bits to it all the time. My background is… so I actually studied film and when I did my undergraduate, I wanted to be a film director. And, initially I wanted to do visual effects actually from a very early age. And then, got interested in film and filmmaking. And when I started my degree, which was photography, film, video, and digital media, that just came in – this was early nineties, like 1990 – as I knew there was this thing called multimedia where you could… with Macromedia, or it wasn't even that, it was called Video Works, I think it was before it even became Director. And I'd always noodled about with computers; I'd had a personal computer as a younger kid, played games a lot and stuff. So, it was always kind of fascinated with interactivity. And I had those kinds of dual tracks all the way through. There was a sort of bit of competition in my head between the world of filmmaking and this new thing. And I chose this new thing, “new media,” as it was at the time, because I was kind of interested in it as a form. What does it mean to be able to interact with stuff? What are the affordances of this new thing? And so that's where I started. So, I started kind of doing interaction design before it had that name. And sort of discovering some things about interactivity, with a group called Antirom. And then, I started teaching it quite a lot and I'd always done a lot of teaching, even when I was a student, I used to of teach my peers quite a lot. And that's always been a… The secret thing about teaching is you hoover up a lot of knowledge. I think you gain more knowledge from teaching than you do give out actually. And then I was heading the School of Media Arts at the University of New South Wales in Sydney. And we were having a kind of faculty restructure, and I'd started getting interested in the idea of organizational design. And in these meetings about the restructure, the faculty – mostly designers and artists, who were the faculty – were having a meeting where they read out pages of A4 to each other, and then had long conversations and I thought, well, this is a design process. Why aren't we up at the whiteboard, you know, designing this organization? And then when I went back to the UK to visit a friend of mine, Ben Reason, in his newly minted studio of Livework, he started talking about service design. And he said, we're doing this thing called service design and I met Lavrans and Chris Downs as well and suddenly there's, “oh right! There's a whole way of thinking about this stuff.” And sort of language. And so I started kind of making the shift into that and then co- wrote the book with them, and then started teaching it. And I actually, you know what? [It was] the other way around, I started teaching it and needed the book that I wanted to teach from. So, there wasn't one, so I wrote it with them, and that's sort of been my journey. Then I went to Fjord for a while where I was, again in a kind of teaching role, as well as design director role. And I've just recently – with brilliant timing, on the 1st of March – went independent again, as a design leadership coach and also training, clients and client teams. Powers of Ten Jorge: Your podcast is called Powers of Ten, and that's named after the very famous film by Charles and Ray Eames. Why Powers of Ten? What is it about “Powers of Ten” that is so powerful? Andy: There are, there are two books that – I realized that only recently – that had seemed to have had a massive influence on me when I was a kid. My dad is an artist and was a designer too. And he had a book version of Powers of Ten that's where I first saw it. I saw, you know, a book with the frames in it. And there was another book called the Guide To Self-Sufficiency by a guy called John Seymour. Now I can talk about later and it talks about the, kind of, how to be self-sufficient, grow your own stuff, but it talks about the four seasons of the garden. And the Powers of Ten thing, just stuck with me, cause this guy actually called Andreas Elba (?) who was a friend of mine, and we were having a conversation about how to explain service design to people. Because that ability to zoom in and out and zoom out from big picture to detail and back again, and understand how they affect each other is really, really important, right? And we've really seen it recently with the coronavirus stuff, but small things can make a massive difference, particularly when they sort of aggregate up. But at the same time, a shift in policy or something can ripple – or a shift in business model ripples across all the details. And so, I'm talking about it and I had this kind of model of these different layers. And I think Andreas said, “Oh, do you know that film ‘Powers of Ten'?” And I was like, “Oh yeah, yeah, no, I love that!” And then I started using that as the way of explaining it to people. And so the thing about “Powers of Ten” is this idea of… One, it's an exponential thing, which now everyone understands, thanks to the coronavirus. But this idea of… To those that don't know, it starts with a camera above a guy on a picnic blanket, one meter above him and then 10 meters and then a hundred meters, the powers of 10 each time. So, one of the things is how quickly you're out into the universe, right? How quickly that multiplies up. And then it goes back down into the subatomic level. But the other thing is this kind of rhythm that there is, where there are moments of density: there's lots of matter, there's lots of planets, or there's lots of whatever, and then space. And as you know, good chunks of it in both the subatomic level and the kind of universe level where there's just lots of space and then suddenly there's a lot of density again. And I just found it, that sort of fractal thing where these patterns kept repeating themselves, I found it really, really fascinating, and it really stuck with me as a kind of way of thinking. I don't know if it has anything to do with my kind of film background. Maybe there's a bit of it there. You know, and when you've got like a line and a scene and kind of an act and so forth, or, maybe. But I just find it a really useful way of thinking about everything. Consulting Jorge: I'm wondering, in consulting work – because I take it from what you've been describing that most of your career has been as a consultant, in advisory roles to organizations… Andy: A mix. So, I've had… I switch in and out of kind of academic life and consulting. And so, I've had periods where I've been doing likes of 10-15% consulting every so often and doing talks and stuff and mostly teaching. And then I've had periods of the other way around. Jorge: So, these subjects, I think, fit in very nicely with what I would expect to be an academic perspective on the work, right? Where it's more introspective and you're… you were talking about this notion of zooming up and down the levels. And in my experience, folks in the business world are more focused on the nearer term, perhaps more actionable or kind of like… I've even noticed a resistance to ideas that they might consider more philosophical. Andy: Yeah. Jorge: And I'm wondering, first of all, if that somehow corresponds with your experience, and if so, how do you deal with that? Andy: It does correspond to my experience. So, service design in particular… You know, fundamentally it deals with ecosystems and services are kind of multiple touch points, they're multiple kind of channels. If you can think in terms of ecosystems and actually try and pull the parts of those ecosystems together to understand that you're actually all involved in delivering the same thing. You know, there's I think a bit in the book where we say a service is designed in silos, or created in silos, or experienced in bits. And it has a reputation, service design does, of boiling the ocean. Right? So, it's… Laddering up is a great thing, but you can very quickly get into a point… And I see it with students a lot, where it's like, “I want to do something about sustainability. And that means we have to change the use of plastics. But in order to do that, we have to change this…” And then all of a sudden, they're like, “Oh, we have to change the entirety of capitalism,” which is absolutely true. We do. But it's very, very hard to tackle it at that level. And so, I think one of the things that, in that sort of consulting world is to work out, what's the level of influence of… First, there are two things. One is, what's the level that we're actually trying to achieve, change at, and having a conversation at? Because often I think clients will state will want – or stakeholders will want – to be making change to what's essentially a structural change to the business, but sort of hoping that they can do it through some sort of customer experience mapping or something. So getting that right, getting everyone understanding that this is the level that we're tackling at, or working at, is important. And then making sure when you're having those conversations, you don't get kind of out of whack, you don't get kind of misaligned. Because I've seen, you know, plenty of times people having a really long discussion or debate or argument about some detail and yet the bigger picture thing is actually in fact the thing we need to be talking about at that time. And vice versa, right? In my head, I've got those different kinds of zoom levels and I'm trying to kind of work out where people are at and where the project is at and try and bring everyone aligned on that or move them up and down as well, you know? Jorge: Yeah. And I'm guessing that also understanding what level of role you're dealing with in the organization itself might be important, no? Andy: Yeah. Yeah. And, and that's what, I guess what I meant by that kind of, someone who's jurisdiction is quite… it doesn't have to be smaller, like it could be they're the head of customer experience or something, but if they are then in competition for budget or whatever it is with the head of marketing and the CEO has another idea and whatever, they're all essentially part of the same ecosystem if they're fighting with each other. Or they feel like, “Well, that's not my kind of role and that's not my jurisdiction.” It makes it very, very hard for them to operate. So a lot of that job is facilitating the conversations between them. And I guess a lot of my frustration is… I've come away from the idea of kind of breaking down the silos. I think silos are actually… they're often for good reasons and you need some kind of containers, but sort of bridging them or making them a bit more porous, I think is really crucial. I think that you really need to make sure that you know how you fit into the other part of whatever else is going on. Jorge: One thing that I've experienced in consulting engagements is that sometimes these design projects serve as the excuse for people in those silos to work together collaboratively, perhaps for the first time. And they become more aware of the… more tangibly aware of their differing objectives, incentives, and communication styles, perhaps. And just that knowledge is a powerful catalyst to changing the conversation, somehow. Andy: Yeah. So one of the things… this is a service design thing, but it doesn't necessarily have to be this… but one of the things in service design is a service blueprint, where you're mapping out the front stage and backstage, all the sort of bits of the enterprise that actually deliver or support the delivery of that service or that experience. And I think it's often seen as… we're going to design this thing and then we're going to fix it, you know? And blueprints are actually a kind of terrible name. Because it's, it's not really a blueprint, what it is is a map really. And in that it's often its main value is actually, for the first time, different parts of the organization, see how well their stuff fits together, you know? And it's one of those things of, our tools, you know, shape our thinking. And if you sit in PowerPoint decks and Excel sheets the whole time, you don't ever really see the connectedness between all of those different things. And so, whether it's synchronously, everyone's in the room together, asynchronicity of people coming in and out, I think that's a really kind of useful tool for that. What is service design? Jorge: Some folks listening in might not be familiar with service design. Andy: Hmm. Jorge: What is the introductory spiel? What is the “101” to service design? Andy: There's a, there's a big debate about this. So, one of the ways of thinking about it is, it's the design of all the different touch points that go into delivering a service or a customer experience, plus the kind of backstage, behind the scenes things, and that's kind of IT. Could be man-in-a-van delivery, it could be all sorts of things that go into actually delivering that service and making sure that they are coherent across different channels. So when you move between say a website and an app or call center, you're speaking the same language, talking about the same things and so forth. And also, that there are kind of seamless transitions between steps, so as people move through the journey. And so, with that, that means someone can take a journey through your service ecosystem in whichever way they like and it's always coherent. And service design is basically about doing that the way I usually explain it to kind of, you know, my mother, is this idea of… if you've ever had an experience with an organization, often with government, but often with things like telcos and insurance companies and so forth, where if you've got a problem and it feels like every time you phone up or have some kind of contact or, you know, use a touch point, it feels like you're dealing with five or six different companies instead of one. Our job is to make it feel like it's a seamless experience. Jorge: One thing that is coming to mind, hearing you describe that, is that it sounds comprehensive in nature and holistic, right? Andy: Yeah. Jorge: In that it's looking to embrace as much of the experience as possible for someone who is trying to accomplish something by interacting with either a system or organization. And that strikes me as a direction that might be in tension with another direction, which has to do with specializing more or wanting to compartmentalize design. And I'm thinking now of like professional self-identities, right? Like some people think of themselves as visual designers or, I don't know, industrial designers or, you know, in… Andy: UXers or whatever. Jorge: Right. And what strikes me here is that in all of those cases, the object of design is some kind of tangible artifact. Some are more tangible than others, but something that you can examine and point to and say, “I designed that.” Andy: Yes. Jorge: What is the object that's service design designs? I don't even know if that's a fair question. Andy: No, it's not really. I mean, it's, like I said, you're designing what you're doing is taking a zoom level up actually, or a couple of zoom levels up and trying to design, make sure that all those objects or those touch points – that can be people, incidentally, or systems – are working in cohort, that you can interact with each one and understand what's going on. That there's a kind of seamless sense to them. They feel like they're a whole. So, in some respects, what you're designing is a kind of ecosystem. But there's another bit to that also, which is the business model, right? So, you know, most service design teams have a business designer amongst them. Because they're the two halves of the same coin. If you're trying to design a service… and let's take an example where you say, “Well, we're going to change the business model from freemium to subscription.” Then the way the whole… all the touch points around that and the way you talk about that have to change, right? You know, to communicate it right. And often you'll see that a business model and the design of the different touch points in the service are slightly at odds to each other. The most… well, one of the ones I know of is a telco's name I won't mention. The call center, when you phoned the call center with a problem, they would tell you to go into the store in order to get some help. But the same company had created an app, a sort of self-help app, in order to try and get people not to go into the store. So, see you have two touch points that are kind of working against each other, with different messages, coming from the same company. Jorge: Yeah. And you talked about coherence earlier, right? Like there's this misalignment there that stepping up a level and looking at the entire – or as much of the picture as you can – exposes those points of incoherence. Andy: Yeah, and it breaks trust, right? You know, humans anthropomorphize everything, right? We give our cars names; we shout at our computers. We do it with our pets and everything else. And I'm pretty sure we're just basically hardwired to see the world narcissistically as kind of everything in the world is like another human being, right? And I think we also relate to companies like that too. And so we have these you know, things in this relationship, you go, “Oh, I thought we had this relationship and it turns out we have a different relationship,” and there's a little kind of ding in the trust there. And, and so that, that kind of happens all the time. If you imagine someone who you kind of know quite well, who you're spending a lot of time with – which is often the case with some services – and all of a sudden, they do something really out of character, you start to kind of wonder, “well, what's going on there?” And so that's, I think, what's going on when you get that destruction of trust, when those things aren't designed as a kind of coherent whole. Jorge: It feels to me that service design is kind of systemic design; it's design of the system. And perhaps calling it systemic design might lead people to assume that it really is about technology or something when it's meant that, “system” meaning in the broader sense, no? Andy: Yeah. And you know, I've been really interested in systems thinking in the last few years. I think I've always have been, but in the last couple of years, I've read more up on it and stuff. And you know, I think there's a lot of overlap there. And one of the reasons why I think there's a lot of overlap between that and say, circular economy and sustainability, is a lot of the way of thinking is around kind of ecosystems and human behavior and understanding how small changes can add up to a kind of big difference. And, do you need to kind of map out those big things, but also you also need to deal with the absolute details of how easy it is to find a recycling bin and stuff like that. All those things that are just the barriers to people changing their behavior don't have to be very high for them to not do anything at all. Projects and governance Jorge: When thinking about design engagements, I often think of them as projects to be undertaken, especially as an independent consultant. Andy: Right. Jorge: You get called in because the organization has some kind of need, and you get brought in to help them design a solution that addresses that need, right? And one of the systemic aspects to any kind of situation that an organization might find itself in is that whatever caused it and whatever intervention you're designing is not something that is going to be fixed into a particular time. There are going to be ongoing changes happening, right? And I'm curious about the relationship between service design interventions and ongoing governance of the systems that are set up. Andy: Yeah. This is the kind of bane of agencies' lives actually. So, it's design agencies, I think because, you're absolutely right. I mean, there's lots of different parts to this. One is just a purely kind of… we talked about it before, is a sort of jurisdiction level of who is your stakeholder? Who is basically hiring you as an agency or as a consultant? And, what's likely to be their kind of budget, right? And they have a kind of certain amount of budget, and it seems to sort of pan out to be where you've got enough money for kind of three or maybe six months of work, which often means that you kind of get the discovery and the kind of ecosystem mapping and the concept of this sort of beginning of the kind of concepts done. And then basically the budget's used up of, what's probably at least a kind of two- or three-year process really. And so service design is slightly got a bad rep in that sense of being, you know, or you guys just come up with a load of kind of journey maps and blueprints and concepts, but never execute on them. And the reason why our book was actually called From Insight to Implementation is because you really need to be able to follow those things through and keep referring back. So, that is a real problem, actually. And the other bit is that jurisdictional thing, which is that person has started a process, which in fact affects the whole company or it needs to involve the whole company in order to maintain it and deliver it and so forth. And there does need to be governance there. And that governance is often set up sort of internally focused around well, you're in charge of IT, you're in charge of marketing and so forth, rather than thinking about the, how does this relate to the service and the delivery of the service? And so, who needs to be in the room, basically, having conversations about how this gets modified or changed and so on and so forth. And that is a real problem. I think there's a real problem with this idea of when again, you know, it comes back to, say, in a funding model, in an organization, the difference between funding a team versus funding a project. Projects, I think, are a natural way of people to think about things. And I'm guessing it probably comes from school. It's actually often a terrible way to think about services. I much prefer gardening and we talked about the such, I think, over email. That's why I gave this talk. I talked about that gardening book, right? And that there is no sense where you, you say, “we're done. We've shipped the garden!” Right? It's not, it's never finished. It's always changing you plant something. And some, it really does well. And then all of a sudden it does too well, because it's casting shade over all the other stuff. And then something else is withering in the corner and you either just chop it out and throw it in the compost deep or you move it somewhere else. And so, it's kind of ever going, changing thing. If you think of government services, like, I don't know, applying for a passport, or going to jail, or visiting people in jail – that's not a thing that's ever done; it's just always changing. Jorge: The idea of gardening brings up the element of time into the project, right? Andy: Yes. Jorge: And this notion that the intervention you're making now is going to have effects down the line. And in some ways, what I'm hearing you say is that ultimately the object of design might be the thing that makes the design as opposed to the intervention itself. Andy: It makes the design in what sense? Jorge: So, when you talk about funding teams versus funding a project, in some ways the project serves as a reason for a team to coalesce. But ultimately the thing that you want to do is ensure that the team is in place and that they have the resources necessary for whatever goal the thing is setting out to accomplish; to be an ongoing concern as time passes. Andy: I do think that as a… you know, if you're coming in it from a sort of consultancy/agency kind of angle to an existing organization… or an organization that isn't a design organization, like a bank or an insurance company or whatever, you only really can be successful if that company can take on some of the skills and work and become – you know, quite often, a lot of them do have internal service design or design teams internally. I don't think it's realistic for them to constantly rely on externals. I think those external consultants can bring knowledge from other spheres, which is really useful, and experience from other spheres, and see patterns where, if you've been stuck in the same organization for a long time, your field of vision narrows, and also can do some of the heavy lifting sometimes. But ultimately, and particularly for public services – it's why the GDS in the UK have been so successful, because they've really got a fantastic group of designers working on that stuff all the time and have become much more integrated into the sort of ongoing process. I don't know if I answered your question there, though. Jorge: Yeah. No, you touched on something that I was wondering as well, which is the relationship between internal design teams and people who come in from the outside. To bring it back to the Eames image… the very nature of the engagement, if you're external to the organization, you are by definition, less close to the situation, less close to the problem at hand, so to speak. And as you were pointing out, you have this broader perspective informed by projects, perhaps in a variety of different industries, even. Andy: Yeah, yeah. Jorge: So, you bring that perspective to bear on these projects and you have to work with people who are internal to the organization and, and much closer to the situation at hand. So, in some ways you have to develop this ability to very quickly move up and down those zoom levels, right? So, that's one thing that comes to mind. The other is that there are upsides to doing this kind of work that transcend the immediate project at hand, right? You might be hired to help solve for something that isn't working well or ease transitions between steps or what have you. And you might deliver on that, and that might be part of the value that you're bringing to the client, but you're also demonstrating a different way of working, right? Like one that does take in the bigger picture, perhaps. Andy: Yeah. I think this is both a sort of beneficial thing that you bring in and is a cause of frustration too. You know we sort of talked about it a bit before, that zooming in and out lens is really useful in the sense that you're showing how… because particularly a department or a team inside a larger organization can get a little bit sort of stuck in their own bubble or their own kind of confinement, and they often get sort of learned helplessness, this, “and we would, we'd love to work that way, but we can't. Cause that's just the way things are done around here.” So sometimes that's true in which case, well then, your design problem isn't really the thing that you're trying to tackle, your design problem is the thing that's constraining around you in the organization. And you know, if you get the chance, then we have to deal with that in order to kind of make you be successful. That can be liberating because you're able to make that connection, you can create some change inside an organization. Or it can be deeply frustrating, because the answer to that is, “well, that's all very well, but we just have to fix this thing. You know, we just have to kind of deliver this thing for whoever by this impossible deadline and we don't have any chance to affect that other stuff.” And so, you are just kind of selling them a kind of a pipe dream. You know, a lot of the kind of training or coaching I've done is interestingly less around, “we're really struggling with this design problem. Can you help us?” Than it is around facing the other way, “we are struggling as a department inside our organization to kind of gain traction, to gain buy in, to… we can see that there's this thing, and we can see this connectedness, but we can't seem to kind of convince anyone else of it.” And then, you know, and so that's actually a lot of the work I do is kind of non… it's not really focused on the design object, actually. It is focused on the server ecosystem around those designers. Jorge: Again, hearkening back to “Powers of Ten,” right? Making the invisible, visible by zooming up and down the levels. Andy: Yeah, it is. And, and like I said, that can be, you know, it can be liberating and frustrating for people. And, you know, can also be a bit annoying if you're kind of… so, one of the things is when you come in as an external, it's just like any other kind of therapy or something it's much, much easier to see someone else's relationship problems from the outside than it is to see your own and your own patterns and stuff. And so, you know, the advantage of bringing someone in externally is they've got that kind of view. They can also probably say things that internal stakeholders can't say. So that's, that's kind of one of the roles I often play. But that said, it can very easily sort of come across as, you know, I can see this whole kind of picture and you guys can't. Or even if I paint it for you, then they're just going to feel frustrated that you're not just focusing on the task at hand. Closing Jorge: Well Andy, I feel like we have so much to talk about and we could keep going. I feel like I have like four or five different things that I want to ask you about, but we have to wind it down. Where can folks follow up with you? Andy: So, I have a website it's polaine.com, P O L A I N E, like my name. I'm on Twitter as @apolaine, you'll find me on LinkedIn. Those are sort of main three places and I don't really hang out on many other social media places anymore. I sort of cut down on it. Jorge: And the name of podcast is Powers of Ten, right? Andy: It's Power of Ten actually. Yeah, so I gave this talk about “design to the power of ten,” and so that was where it came from. And I didn't want to kind of too heavily steal the Eames's title. So, yeah, it's called Power of Ten it's on the, This is HCD network. Jorge: Well, fantastic. I will include links to all of those in the show notes. It's been a pleasure having you on the show Andy. Andy: Thanks very much for having me.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman. Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Sigrid Undsets romantrilogi Kristin Lavransdotter har ibland kallats för världens bästa kärleksroman.Berättelsen om Kristin utspelar sig i 1300- talets Norge- ett samhälle omgärdat av stränga regler, heder och tro. Romanen skildrar Kristins förbjudna kärlek till Erlend, men lika starkt som kärleken mellan Kristin och Erlend beskrivs, skildras kärleken mellan fadern Lavrans och Kristin. I Radioföljetongen hör vi trilogins första del; Brudkronan. Producenter: Ingrid Thunegard/Kerstin Wixe. Kristin Lavransdotter sändes första gången 1991.
Denne ukens sending tar for seg finaler på godt og vondt. Vi snakker blant annet om Anthony Joshuas tap mot Andy Ruiz i tungvektsboksing og hvordan håndball muligens har blitt mer populært enn fotball i den norske befolkning. Når vi går over til å snakke mer rettet mot finaler stiller Amund med en quiz, og en personlig finale for Jone blir avduket av Lavrans. I studio: Jone Meling Sunde, Lavrans Holm-Hansen og Amund Engebretsen
Bergens politikere fikk seg et sjokk denne uken da Folkeaksjonen Nei til Mer Bompenger gjorde et byks på meningsmålingene og ble byens mest populære parti. Hvordan i all verden har dette skjedd? Erik, Peter og vår gjest Lavrans går denne uken gjennom både bompenger og andre viktige saker i forkant av høstens valg i Bergen.
I denne versjonen av TimeOut skal vi avdekke krimminelle idrettsutøvere. I tillegg nærmer 17. Mai seg og Mats, Lavrans og Amund skal gi et skråblikk på aktiviteter som er sentrale på nasjonaldagen vår. Helt til slutt har Mats skrevet en låt til "ære" for en norsk idrettsmann
Denne podcasten handler om valg og veier utøvere tar etter sin karriere, på godt og på vondt. Blant annet Bobby Fischer, George Weah og Erik Follestad er dem som har tatt noe annerledes valg enn brorparten. I denne episoden har Lavrans funnet en "Hidden Gem" av den lokale sorten, og vi tar for oss Larviks nederlag i håndballens verden, tune in! I studio: Aksel Murvold, Jone Meling Sunde og Lavrans Holm-Hansen
I ukens podcast er hovedtemaet flaks i idrett og vi diskuterer hvilke idretter som inneholder mest flaks. Aksel kommer med noen scenarioer som kan forekomme i ulike idretter hvor Jone og Amund må svare om de synes det er flaks eller ikke. Aksel har forsatt på Lavrans sin fanfiction og Amund har satt sammen en ny drømmeduell. I tillegg til dette skal noen slikke undersiden av en sko som ukens straff, tune in for å finne ut hvem! I studio: Aksel Murvold, Jone Meling Sunde og Amund Engebretsen
Hvor er det Lavrans liten rir i natten? Til Haugen, selvfølgelig. Der henter han pappaen sin, og sammen rir de ned til Jørundgård, hvor det arge, mangehodede bygdedyret venter i tunet. Det ender i full krig, og noen får et spyd i lysken. (Det blir også gjenhør med den vanskeligste oppgaven fra Påskelabyrinten i 1991). #korset #sigridundset #kristinlavransdatter
Aksel, Lavrans og Amund er i studio og ser over de siste nyhetene fra idrettsverden. I denne episoden går de gjennom forholdet mellom WADA og Russland, samt hvordan håndball VM utspiller seg. I tillegg forsøker Lavrans og Aksel å knuse en verdensrekord. Lytt nå!
Kristin er på sætra med lille-Lavrans og Munan, og plukker blomster til medisinskapet sitt. Ellers går det mye i tankekjør og savn: Kristin savner å være fjong byfrue som går på shopping i frodige, eksotiske Trondheim. Erlend kommer (med ungene på slep) for å jakte rein. Han benytter også anledningen til å påtvinge seg et ligg. Kristin sitter og nattfurter på en diger, skummel trollstein når plutselig Simon kommer ridende. Simons sønn er kjempesyk. Kan Kristin redde Andres ved hjelp av sin hekse- og legeutdanning? #kristinlavransdatter #korset #sigridundset
Den norska Nobelpristagaren Sigrid Undset sökte kärleken, traditionen och Gud men kanske mest att att få skapa och tänka fritt. Detta begär präglar ännu hennes skrifter, säger Lena Kjersén Edman. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Den intelligenta, drömmande, lite klumpiga och mycket ensamma unga norska kvinnan Sigrid Undset längtade efter en man att älska. En man med vaket intellekt och stort hjärta. Som hennes far, den berömde arkeologen. Eller som dominikanermunken Thomas av Aquino. Hon fick den nio år äldre, enstörige och gifte norske målaren Ander Svarstad. En man, så ville hon tro, som skulle ge sin kvinna frihet att skapa. Men som samtidigt var sin kvinnas "herre". Det blev inte riktigt så. Men hon fick tre barn och under en tid tre bonusbarn. Dottern Mosse var kognitivt funktionsnedsatt och krävde ständig passning. Det finns problem med att försöka förstå ett författarskap, särskilt ett berömt för skildringar av historiska tider, genom författarens eget liv. Men i den minimala skiss över Sigrid Undsets liv jag här målat upp ryms de teman som så starkt präglar hennes böcker: åtrån, den motstridiga längtan efter frigörelse och tradition, liksom omsorgen om de närmsta ställd mot det inre kravet att få skapa. Tiden räckte nog aldrig till för Sigrid Undset och efter den tråkiga skolgången var avslutad skulle hon dessutom försörja sin mor och sina systrar. Men nätterna fanns. Då höll hon sig vaken med kaffe och cigaretter, läste och skrev. Det första färdiga arbetet var en medeltidsroman. En förlagschef räckte tillbaka manuset med orden: "Försök er inte på historiska romaner fler gånger, lilla damen. Det kan ni inte." 1928 tilldelades hon Nobelpriset i litteratur, enligt motiveringen förnämligast för hennes mäktiga skildringar ur Nordens medeltida liv. Undset levde mellan 1882 och 1949 och skrev otaliga artiklar och böcker av skiftande slag. Men när hon en gång fick frågan vilken genre hon egentligen skrev, svarade hon: "Den osedliga". Det norska borgerskapet instämde. Deras läppar smalnade när de läste den laddade inledningsmeningen till hennes debutbok "Fru Marta Oulie": "Jag har varit otrogen mot min man". Det var framgången med den romanen som gav tjugofemåriga Undset möjlighet att resa ut i Europa där hon träffade Svarstad. De gifte sig så småningom och i den vackra Gullbrandsdalen, i det stora huset Bjerkebæk, ville i Sigrid Undset skapa det varma familjehem som hon hade drömt om i sin fattiga ungdom. Drömmen besannades inte, äktenskapet sprack och Undset tillbringade nästan trettio år ensam med barnen i huset. Men när hon arbetade vid skrivbordet led hon av att hon försummade barnen och när hon ägnade sig åt barnen plågades hon av att hon inte författade. I flera romaner skildrar Undset med nertonad lidelse det ambivalenta sambandet mellan kvinnans moderliga omsorg i ständig konflikt med andra drivkrafter: arbete, konstnärskap, frihetslängtan, auktoritetslängtan och sinnliga begär. När hon fick sitt stora genombrott med romanen "Jenny" var hon ännu ung jämngammal med berättelsens faderslösa frusna tjugoåttaåriga konstnär Jenny Winge. För den plikttrogna och känsliga Jenny är hennes erotiska begär förenat med en längtan efter disciplin och skönhet. Hennes mål i livet är att bevara självaktningen och inte svika sina ideal som kvinna och konstnär om hon inte lyckas, då kan hon inte leva. Själv ville hon skriva liv om människor vilkas nerver arbetar i instinkternas halvmörker inte skapa idealbilder. Många väntade att författaren till "Jenny" skulle gå i bräschen i samtidens sedlighetsdiskussion för "den nya kvinnan". Men även om Sigrid Undset hade stor respekt för det suffragetterna och andra som kämpade för kvinnosaken hade uträttat, propagerade hon aldrig för kvinnlig rösträtt. Istället ironiserade hon över de kvinnokretsar i Norge som hade fått igenom en förändring i vigselformuläret när det gällde hustruns underdånighet i äktenskapet. Med undantag för Selma Lagerlöf och Amalie Skram "de kunde skriva och såg livet genom en kvinnosjäl" uttalade hon sig ofta med skarp tunga om andra kvinnliga författare. Själv ville hon skriva liv om människor vilkas nerver arbetar i instinkternas halvmörker inte skapa idealbilder. Undset var väl på många sätt vad vi idag skulle kalla en särartsfemist. Hon ville se familjen som samhällets kärna och i den kretsen skulle varje människa göra sin plikt. Kvinnan speciellt. Hon såg det som en förlust att samhället i hennes livstid blev alltmer materiellt och manligt. Visst är den erotiska passionen ett bärande tema, men märkvärdigare ändå är skildringen av kärleken till barnen Året efter flytten till Bjerkebaek gav Sigrid Undset ut "Kransen", den första romanen i medeltidstrilogin "Kristin Lavransdotter". I de två första delarna ser vi hennes teman återkomma: "Kransen" handlar om kärlek (och erotik) och fortsättningen "Husfrun" skildrar familjen. Den tredje delen, "Korset", handlar om en viktig sak i hennes liv och verk som vi som ännu inte närmat oss: Gud och Nåden. Sigrid Undset led av en känsla av andlig tomhet, som varken Nobelpris eller succéförsäljning kunde rå på. När den frånskilda, världsberömda författarinnan upptogs i katolska kyrkan var skandalen ett faktum. Men de statiska elementen i läran tilltalade henne. I dess famn tyckte hon sig finna en objektiv sanning, en helhet till skillnad från protestantismen som var som en misslyckad "sprucken omelett". En annan sprucken omelett är den rastlöse riddaren Erlend i trilogin om Kristin Lavransdotter. Hon, bokens komplexa och sammanbitet envisa huvudperson, attraheras av Erlend, men förblir smärtsamt besviken över denne sin makes tillkortakommanden. Nog rymmer Kristins äktenskapet ömsinthet och passion men än mer: aggression, och bitterhet. På en bröllops-sajt på nätet läser jag att blivande brudpar får det förunderliga rådet att läsa Kristin Lavransdotter "för att hålla den romantiska lågan vid liv" Gun-Britt Sundström, som översatt trilogin, skriver i sitt förord: "Kristin Lavransdotter är känd som en av världens största kärleksromaner med den är större än så. Visst är den erotiska passionen ett bärande tema, men märkvärdigare ändå är skildringen av kärleken till barnen (konkret, sensuellt beskriven så underligt sällsynt i litteraturen) och hur den samspelar och konkurrerar med kärleken mellan föräldrarna." Undset som i en artikel skrev att det inte är barnen som ska respektera föräldrarna utan att det är föräldrar som ska förtjäna sina barns respekt, låter Lavrans outslitliga kärlek till sin dotter vara en bild av Guds kärlek. I århundradets kärleksroman, som Kristin Lavrandotter har kallats, är det inte förälskelsen mellan Erlend och Kristin som får hjärtat att brista; det är kärleken mellan en dotter och hennes far. Styrkan i dessa skildringar gör vetskapen om hennes egna förluster än mer smärtsam. Dottern Mosse dog samma år som det andra världskriget bröt ut. Och året efter stupade hennes son Anders i striden vid Segelstad bro, fem kilometer från hemmet i Bjerkebaek som tagits i beslag av nazisterna. Undset var dödsdömd av ockupationsmakten och hade flytt till Sverige med sin yngste son. Efter en tid i USA återvände hon efter befrielsen till Norge, där hon dog fyra år senare. Kvar finns oräkneliga artiklar och hela trettiosex böcker. I dem och i hennes brev framträder en författare och tänkare som faller utanför vår samtids prydliga kategorier. Hon var oavsett om det gäller kyrkan, barn, kvinnan eller kärleken en människa som alltid ville tänka fritt. Och denna frihet pulserar ännu idag i hennes litteratur. Lena Kjersén Edman, litteraturvetare, bibliotekarie och litteraturkritiker
Lavrans dør. Lavrans døøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøøør. #husfrue #sigridundset #kristinlavransdatter
Lavrans slår følge med Kristin og trollungene et stykke hjemover. Lavrans begynner å bli en gammel mann, og Kristin gråter som aldri før. Etter mange mislykkede trøsteforsøk, vender Lavrans snuten hjemover, mens Kristin uler i mosen. Hjemme på Jørundgård forteller Ragnfrid siste nytt om folk og fe og mose og tau og lederhosen og sånt, men før de tar kvelden snakker det gamle ekteparet ut om både dette og hint. #husfrue #sigridundset #kristinlavransdatter #gueststar #overraskelsesgjest
Etter bryllupet er det god stemning på Jørundgård. En sau blir slått ihjel, en hundevalp nesten revet i to, men ellers kommer alle godt ut av det med hverandre. Bortsett fra Kristin, selvfølgelig, som sutrer og sturer og skjeller og smeller i hytt og pine. Erlend er på vei ut i verden igjen, denne gangen til Danmark, for å gi seg storpolitikken i vold. Og kanskje er barnekongen homoseksuell. Ikke rart Lavrans får det ene hjerteinfarktet etter det andre. #husfrue #sigridundset #kristinlavransdatter #kongenerhomo
Golden salmon, Jone og Lavrans er tilbake med en helt ny episode! Denne uken tar de for seg E-sport, sykkel-VM og problemene i Vikersund. I tillegg har Lavrans og Golden salmon fått ansvar for en helt ny spalte. Vil du vite hva det er, må du nesten laste ned episoden. Tune in!
En masete prestebror sender Erlend på skitur til Jørundgård for å varsle fosterklumpens komme. På Jørundgård er det faste og surmuling. Lavrans blir med Erlend nordover, og det blir male bonding med ryper og guttepreik. Tilbake på Husaby griner Kristin, som vanlig. Erlend gir seg til å pusse opp gården, mens Kristin drømmer om å reise til Trondheim og få syndenes forlatelse av Sankt Olav. #husfrue #sigridundset #kristinlavransdatter
Endelig er dagen kommet! Kristin skal få sin Erlend, og omvendt. Men bryllupet blir ikke helt som bryllup flest. Her er lutskader i hårbunnen, bitter vognkrangel, nestendåning, dum posehatt, skrekkelige hallusinasjoner og skrømt. Og til slutt slår Sigrid til med et bonusspor hvor Ragnfrid og Lavrans vrenger de sørgmodige sjelene sine. Og snipp snapp snute, så var Kransen ute! Christine Lossius Thorin og Jørgen Strickert leser Kransen av Sigrid Undset. #kransen #sigridundset #kristinlavransdatter PS! Bli med å se Kristin Lavransdatter med oss neste uke! Du finner filmen her: https://www.sfanytime.com/no/movie/8252/kristin-lavransdatter
Det går mot slutten for stakkars Ulvhild. Det er nesten ikke mat å få. Lavrans kidnapper en bjørnefamilie. En mystisk mann kommer på besøk. Det gikk fint å trylle bort døde Eline. Og på tampen åpner Lavrans for å snakke med Herr Munan om Erlend-og-Kristin-affæren. Det kommer også et væromslag. Christine Lossius Thorin og Jørgen Strickert leser Kransen av Sigrid Undset. #kransen #sigridundset #kristinlavransdatter
Masse spennende og urovekkende skjer i middelalderen, men Jørgen får ikke lov til å mase om det. For nå kommer Lavrans hjem fra tinget, dritas. Ikke desto mindre vil han ha mer å drikke. Så kommer den ene nyheten verre enn den andre, og Kristin går gråtkvalt til sengs. Det er duket for et følelsesladd oppgjør mellom Lavrans og Ragnfrid. Christine Lossius Thorin og Jørgen Strickert leser Kransen av Sigrid Undset. #kransen #sigridundset #kristinlavransdatter #ragnfridstrikesback
Kristins hjertesmerte, og de hemmelige datene med Erlend, fortsetter. Men så banker det på døra. Med et sverd! Det blir showdown på Flugas skjøgeloft. Og hva sier pappa Lavrans når han får vite hva som har skjedd? Christine Lossius Thorin og Jørgen Strickert leser Kransen av Sigrid Undset. #kransen #sigridundset #kristinlavransdatter
Mye babbel om oppussing på Jørundgård, men ting skjer i kulissene: Kristin er blitt tvangsforlovet med den korthalsede Simon. Nabogutten Arne depper og gjør et romantisk fremstøt. Kurtiseringen avbrytes av Ulvhild, som snubler i krykkene sine. Det blir blod. Broder Edvin vender tilbake! Denne gangen full av lus og gikt og visdomsord. Og Kristin har fått en søt knehund i forlovelsespresang. Nevnte vi at Lavrans og Ragnfrid har fått enda en datter? Nei? Men det gjorde knapt Sigrid Undset også. Christine Lossius Thorin og Jørgen Strickert leser femte kapittel av Kransen. #kransen #sigridundset #kristinlavransdatter
Journalist og forfatter Sigrun Slapgard skjønte hensikten i sitt arbeid da menneskerettighetsaktivisten Marianella Garcia Villas ble drept, 34 år gammel, i 1983. Har dedisert sin bok "Eg har sett jaguaren" til henne. Sigrun har skrevet biografi om Sigrid Undset og mener Christines sleivspark mot Kristin Lavransdatter er noe Undset selv ville hatt glede av. Hun mener at portrettet av Lavrans i Kristin Lavransdatter kanskje er det beste mannsportrettet i norsk litteratur. Avslører at Sigrid Undset forelsket seg i Simon Darre mens hun skrev boka. Frode Grytten med sitt ferske dikt – Livet er Fikk en lite planlagt oppdagelsesreise i eget liv da hun måtte gjenfortelle sitt og brorens liv da han lå på dødsleiet.
— Det som har skjedd de siste 20 årene er at digitaliseringen endrer hvordan alle sektorer leverer produkter og tjenester til kundene, forteller gründer av Livework, Lavrans LøvlieHan har jobbet med noen av de største merkevarene i verden og var med å starte det første firmaet i verden som designer tjenester.I episode #48 av podkastserien ‘De som bygger det nye Norge’møter du grunnlegger av Livework, Lavrans Løvlie. Sammen med Silvija Seres snakker de om tjenestedesign, «Design Thinking» og hvorfor det er ekstremt viktig å kundeorientere produkter og tjenester. Du kan også høre hvordan riktig design kan skape stor effekt.Her finner du de fem mest populære podkastepisodene fra 'De som bygger det nye Norge'Følg oss på:Facebook, Instagram, Twitter , LinkedIn og obforum.no See acast.com/privacy for privacy and opt-out information.
EL AMOR DE DIOS RESPLANDECE DESDE NUESTRAS HERIDASEs espléndido el Evangelio de hoy que revela un aspecto verdadero y fundamental de la vida cristiana. De un lado las falsas certezas de quien supone que "yo puedo", de estar listo a cumplir la voluntad de Dios, el pelagiano moralista que cree de poder solucionar las cuestiones con sus solas fuerzas. Del otro lado la fotografía de un común y real "murmurador carnal."Y la Gracia que implica la naturaleza. Qué, como dijo San Tomaso de Aquino, no la borra sino la transforma: "Gratia no tollit naturam, sed perficit", "la gracia de Dios no destruye la naturaleza humana, sino la lleva a la perfección." A menudo el primero impulso frente a una Voluntad Divina que no nos gusta es un movimiento de molestia y "ignorar que el hombre tiene una naturaleza herida, propensa al mal, es causa de graves errores en el campo de la educación, de la política, de la acción social y de las costumbres" enseña el Catecismo de la Iglesia Católica al n. 407. Es una experiencia común rechazar en un primer momento las situaciones desagradables. Las heridas del pecado original no son sólo una idea.Por eso la página del Evangelio de hoy es la síntesis quizás más profunda de lo que de verdad ocurre en el corazón de un hombre mojado por la Gracia. De hombres, mujeres, reales y carnales, no simples ángeles pasados por casualidad sobre la tierra. Por eso Jesús habla de las prostitutas y de los publicanos que han acogido la Buena Noticia de Juan, la posibilidad de salvación que brota de la conversión, cuyo fruto más evidente es el arrepentimiento. Todavía enseña el Catecismo que "En efecto "el misterio de la iniquidad", (2 Ts 2,7), se ilumina solamente a la luz del misterio de la piedad. La revelación del amor divino en Cristo ha manifestado a un tiempo la extensión del mal y la superabundancia de la gracia", N. 385.Ha sido esta la experiencia de los pecadores en cola silenciosa para recibir el bautismo de Juan. Un corazón contrito y desentonado que Dios no desprecia. La única actitud posible, un corazón triturado por las Palabras de Gracia del anuncio Evangélico. La Palabra escuchada, acogida y sellada a través del Espíritu Santo: "La preparación del hombre a acoger la gracia ya es una obra de la gracia. Ésta es necesaria para suscitar y sustentar nuestra colaboración a la justificación a través de la fe, y a la santificación a través de la caridad. Dios lleva a cabo en nosotros lo que ha empezado: "Él empieza haciendo de modo, con su intervención, que nosotros queremos; él lleva a cabo, cooperando con los movimientos de nuestra voluntad ya convertidos" (San Augustin, De gratia et libre albedrío, 17,33: PL 44,901)", como puntualiza el Catecismo al N. 2001.Quedan fuera los que, a menudo, cerrados en una malentendida actitud "religiosa", suponen de haber entendido, de estar listos. Los "verdugos" que, imaginándose perfectos o casi, se arrogan el derecho a dispensar a la derecha y la izquierda latigazos contra las muchas injusticias que ensangrientan el mundo. No es que no se tengan que denunciar las injusticias y los pecados, pero es la soberbia que hace tocar hasta a las más sacrosantas verdades de una música falsa e hipócrita. Los estrépitos de los Cataros y Maniqueos de cada tiempo que juzgan, olvidando de ser exactamente responsables como todos los demas. Los Principes de los sacerdotes y los ancianos del pueblo, pero no sólo.En efecto es una actitud difusa y no lejos de nosotros, de nuestras familias, de nuestros despachos, de las colas a las oficinas de correos, de nuestras reuniones de condominio, de las calles traficadas que nos conducen a los lugares de trabajo o de las vacaciones. Parece imposible que nuestro corazón pueda cambiar, que la piedra se vuelva carne. Pero hay la Gracia. Ella es como una gota de agua que incansablemente resbala sobre un trozo de hierro hasta a corroerlo y a triturarlo. Es hierro nuestro corazón oprimido por las concupiscencias, las pasiones, el peso de un pasado no reconciliado. Los pecados acumulados en una vida. Y es agua pura y silenciosa la Gracia que lo moja por la predicación, la Palabra de Dios, los sacramentos, las personas y los hechos que Dios manda a nuestra vida en el tiempo. Somos duros y testarudos, pero de todo es más fuerte la Gracia de amor del Señor.Hay una figura en la literatura que ilustra magistralmente la obra silenciosa de la Gracia en el corazón del hombre. Es Kristin, la protagonista de la novela "Kristin hija de Lavrans." "El último pensamiento claro [está escrito en las últimas páginas, cuando Kristin está a punto de morir] qué tuvo fue que habría muerto primera que aquellas señales [las señales misteriosamente hechas de Dios sobre su mano] hubieran desaparecido, y la cosa le hizo un gran placer. Fue un milagro, algo incomprensible pero una cosa cierta: Dios, ella lo supo, hizo un pacto con ella, un pacto de amor con el que la ató para siempre a si, independientemente de su voluntad [la voluntad herida, el primer impulso frente a los hechos, a las tentaciones, un impulso que a menudo se soluciona en una cadena de impulsos y también, dramáticamente, de pecados], de sus pensamientos terrenales, este amor siempre existió en ella [hay un grito del Espíritu Santo al fondo del corazón de cada uno, por cuanto corrompido sea, un grito que no se puede suprimir y qué acompaña el hombre hasta al último instante de la agonía, un grito que sólo puede apagarse con el exhalar, y por eso cada hombre es un misterio y la Iglesia no puede decir absolutamente quién haya bajado al infierno, incluso decretando dogmáticamente de ello la existencia], este amor actuó como el sol sobre la tierra que da al final sus frutos. Estos frutos nadies habría podido destruirlos, ni el fuego de los deseos carnales ni el orgullo ni la cólera loca. Habia sido sierva de Dios, aunque rebelde, restìa, infiel en el corazón, con una oracion falsa en los labios; una sierva torpe, intolerante frente la fatiga, indecisa, pero Dios quiso mantenerla de todas maneras a su servicio."Kristin fue una mujer herida, pero no mortalmente. Su carne no fue la palabra definitiva sobre su existencia. La Gracia, inexplicablemente, misteriosamente, la condujo y ahora, al crepúsculo de la vida, los estigmas imborrables del amor divino se les revelavan. En la infidelidad la Fidelidad. En la incoherencia, la Coherencia. En la carne la Gracia. Y ella estuvo allí. Quizás no haya querido, quizás sus labios habrán dicho mil veces que no, que no habría ido a aquella viña. Pero se encontrava, ahora, al límite extremo de la existencia, justo allí, en aquella viña tantas veces negada y rechazada. Y allì habia trabajado y fatigado, el sudor de cada día no se podia borrar; y no se habia dado cuenta. El misterio de la santidad está encerrado en esta mirada revuelta a la vida llegada al umbral del Cielo: "¿Quién ha hecho todo esto en mi vida?".Fariseos y sabiondos, rectos frente al altar se ilusionan de poder dar las gracias para haber obrado pobres obras de carne sin Gracia alguna. Los publicanos y las prostitutas escondidos en la penumbra de la humildad no levantan ni la mirada. Cada su instante carnal es preñado de Gracia, la llave por el Cielo. "Después del destierro de la tierra, espero alegrarme furtivamente de ti en la Patria; pero no quiero acumular méritos por el cielo: quiero gastarme solo por tu amor [...]. A la tarde de esta vida compareceré delante de ti con las manos vacías; en efecto no te pregunto, o Señor, de tener cuento de mis obras. Todas nuestras justicias no están sin manchas a tus ojos. Quiero por tanto revestirme de tu justicia y recibir de tu amor la eterna posesión de ti mismo... " (Santa Teresa de Jesús Niño, Acto de oferta al amor Misericordioso).El Adviento también es eso, cada día la antelación de la última tarde de nuestra vida, las bodas eterna con el Eterno Amor. Por Él, también hoy, cada nuestra miseria, por nosotros, también hoy, cada Su Gracia.
I dag har vi besøk av Bjørn Eidsvåg, han har vært med å lage forestillingen «ETTERLYST: JESUS». Det blir OL-Studio med Simen og Ørjan fra Rio! Reporter Niclas har vært med på lille Lavrans første dag i barnehagen.
Vi snakker med Lavrans Solli om svømming og hans framtidige modellariere.
"La hija de Lavrans", de Singrid Undset, "El castillo ambulante", de Diana Wynne Jones y "La metaf
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